


Teenage Mutant Ninja Turtles / Project: Dimension X

by EddieNES



Category: Teenage Mutant Ninja Turtles - All Media Types
Genre: Gen, Screenplay/Script Format
Language: English
Status: Completed
Published: 2020-11-02
Updated: 2020-11-02
Packaged: 2021-03-08 19:47:55
Rating: Mature
Warnings: Graphic Depictions Of Violence
Chapters: 1
Words: 72,422
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/27272170
Author URL: https://archiveofourown.org/users/EddieNES/pseuds/EddieNES
Summary: A mature reboot for the TMNT featuring familiar characters that will take the reader through many adventures.Script format.Unsure how this will import since this is my first posting. I have a link for google drive / pdf if interested.I really hope you enjoy it.





	Teenage Mutant Ninja Turtles / Project: Dimension X

FADE IN:  
EXT. FOREST - NIGHT  
A miles long stone wall separates the land of two villages outside Morioka, Japan. 1979.

HAMATO YOSHI, 22, Japanese training martial arts student, drops down from the dividing wall and walks toward the woods through the small clearing. A VOICE calls from behind.  
VOICE  
Hamato Yoshi!

Hamato Yoshi stops near the edge of the woods and turns back, smiling.

OROKU NAGI, 25, Japanese advanced martial arts student, stands at the base of the concrete wall, sword in hand.  
OROKU NAGI  
I have told you to leave my sister alone, you are not worthy of her.  
Be done with this infatuation.

Hamato Yoshi smiles, shrugs, and turns for the woods; throwing a polite wave to Oroku Nagi.

Oroku Nagi stares as the man disappears into the shadows between the trees. His hand grips the handle of his sword tight.

OROKU NAGI  
(quietly)  
Your arrogance will be your undoing.

EXT. MARKET STREET - DAY  
Crowds fill the thin street lined with booths. Vendors show off their goods, calling out to potential customers as they walk by.

Hamato Yoshi walks through the crowds, scanning the many faces. Smiling, he approaches a woman standing at a booth.

EXT. VENDOR STALL - DAY  
Yoshi slowly comes up behind the woman shopping; squeezing her gently on the sides.

She jumps and turns smiling.  
OROKU SHEN, 19, Japanese college student, places her arms around Yoshi. Her smile quickly spreads to him.  
OROKU SHEN  
Yoshi, what are you doing here?  
My brother will have your head.

Yoshi shrugs and pulls a white flower from his pocket; handing it to her.

HAMATO YOSHI  
I do not fear your brother my love; he is not in charge of me, nor you.  
Do you have plans tonight?  
OROKU SHEN  
(taking flower)  
I cannot tell if you are brave or stupid.  
Our families have never seen eye to eye, you know this.

Yoshi rolls his eyes; looking around the busy market, he spots Oroku Nagi standing down the street holding the hand of a small child who eats a candy treat.

Oroku Nagi stares at him coldly.

HAMATO YOSHI  
Ah, your brother appears; I should go my love.  
Can I see you tonight?

Oroku Shen glances to her brother, then back to Yoshi. A worried look is quickly replaced by the smile again.

OROKU SHEN  
Yes, yes, of course.  
Now go you fool.  
I would very much like you in one piece tonight.

Yoshi smiles and kisses Shen's hand. Looking around, he quickly ducks into the crowd and vanishes.

EXT. EMPTY ALLEY - DAY  
Hamato Yoshi slides from the crowd, into the dark, quiet alley. Glancing back as he walks, he watches as the large crowds pass.

A shadow crosses him, and Yoshi gets knocked to the ground. Oroku Nagi stands above him, a loose black mask hides his features.

OROKU NAGI  
I have given you plenty of warning Yoshi.  
It seems, you are unable to comprehend.

Yoshi jumps to his feet as two more thugs join Nagi from the shadows; each wearing similar masks.

HAMATO YOSHI  
What your sister and I do is none of your concern Nagi.  
Stop this foolishness.

Nagi and his thugs slowly pull long blades from behind their robes. They begin to fan out around Yoshi.

OROKU NAGI  
My sisters well-being is one of my great concerns.  
She will not be distracted by a Hamato.

Nagi swings his blade and strikes at Yoshi. Yoshi steps to his left as the blade sparks off the pavement. Looking up, He blocks another sword strike with his forearm guard.

Nagi adjusts his stance and jumps; flipping over Yoshi. He swings his weapon back swiftly and slices into Yoshi's shoulder.

Yoshi staggers forward toward a dumpster. He quickly jumps, and kicks off the edge; bringing his leg around. He lands the strike on one of Nagi's thugs; hard in the neck.

The thug stiffens and collapses to the ground. Scooping up the small blade from the thug, Yoshi turns to the remaining two.

HAMATO YOSHI  
End this Nagi!  
We should not continue the sad traditions of our families.

Nagi and the remaining thug slowly circle around Yoshi.

OROKU NAGI  
The only tradition today will be another Hamato put in the ground by the Oroku.

Nagi and his thug both lunge forward, swinging at Yoshi. Yoshi uses the blade and his arm guard to stop both incoming strikes.

He stands in the center, holding the weight as both push thir weapons toward him.

HAMATO YOSHI  
(through teeth)  
A typical Oroku, always resorting to violence to get what he wants.

Spinning to his right, Yoshi jumps free of the weapons and rolls away.

Nagi and his thug, suddenly free from Yoshi's force, fall forward into each other. The thugs blade stabs deep into Nagi's chest.

Yoshi slowly stands as he watches the remaining thug run down and out of the alley. Looking down, he watches the blood flow from Nagi's wound.

HAMATO YOSHI  
You see fool!  
And for what! What!?

Nagi slowly pulls the blade from his chest; blood pours over his robe. Standing weakly, he tries to hold his weapon up as he reaches up and pulls the loose mask off.

Yoshi frowns and shakes his head. Reaching down, he slowly picks up another blade, holding it in front of him.

Nagi's hand droops and the sword falls to the ground; falling to his knees, Nagi collapses back onto the pavement.

Yoshi lowers the weapon, watching the life escape Nagi.

HAMATO YOSHI  
Rest in peace, Oroku Nagi.

Behind him, the sound of a weapon alerts Yoshi and he turns quickly; swinging his blade.

OROKU SAKI, 7, Oroku Nagi's younger brother, cries out and falls backwards. The sword he was holding CLANGS to the ground next to his candy treat.  
Clutching his face, the child screams as blood flows from his face. Stepping forward, Yoshi gasps.

Running forward, Yoshi crouches down; grabbing for the child and tries to stop the blood flow.

A voice calls from the alley entrance as a small crowd of people look in at the commotion.

Yoshi, frightened, turns from the child and vanishes out the other end of the alley; the child's cries fill the air.

INT. SMALL HOUSE - NIGHT  
Floor boards creak as Hamato Yoshi walks toward the corner of his small, decrepit home.

Approaching his sink, Yoshi looks into the small mirror at his pale reflection; looking down to his hands, he stares at the dried blood of the child.

As tears form, he turns on the water and scrubs at the blood.

Turning, he walks to his bed and pulls out a suitcase from underneath.

EXT. BUS STOP - DAY  
Hamato Yoshi sits on a bench, looking out at the beautiful view. Sighing, he looks to his ticket.

The loudspeaker announces his bus departure and he stands, picks up his suitcase, and walks down the platform.

EXT. BUS - DAY  
Yoshi stands behind a line of people waiting to board the bus.

Looking over his shoulder, he checks if anyone is looking for him.

INT. BUS - MOVING - DAY  
Watching out the window from his seat, the bus pulls away from the station.

Yoshi stares as he leaves his home forever.

(TIME JUMP TO 1984)  
INT. UNDERGROUND LABORATORY - UNKNOWN  
COMPUTER STATION  
Crowds of scientists, engineers, and military walk around a secret government facility located underground in the United States, 1984. All computer screens pertain to the current project.

A  
SCIENTIST, 38, types on his keyboard at his workstation. Sighing, he looks around the busy laboratory; rubbing his temple with a finger.  
SCIENTIST  
We still can't get communication through the portal sir, we have to wait until the next check in.  
Something just won't let the signal travel through.

The  
ARMY CAPTAIN, 36, standing next to him nods, sipping a coffee.  
ARMY CAPTAIN  
But we've recorded audio on this side from the other, correct?  
SCIENTIST  
Indeed.  
We were able to identify Sgt. Crucet's voice once; he said he yelled at the top of his lungs, but didn't feel comfortable testing further.  
He wanted to secure the location first before possibly bringing any attention to his team.  
ARMY CAPTAIN  
Understandable.

The Army Captain takes a sip and looks around.

ARMY CAPTAIN  
And the mice? Have we've been getting a steady stream of materials?

The scientist clicks at his screen and brings up the MOU-SR data collection log.

The  
Material Obtaining Units / Sample Retrieval log shows dozens of serial numbers pertaining to individual units and their work history.  
SCIENTIST  
Yes sir, Stockman has been keeping up with the separation and logging.  
We've received several hundred samples so far.

The scientist looks up from his screen.

SCIENTIST  
There's another one coming through now.

The Army Captain turns and walks over to the gleaming purple portal sitting in the steel frame; the massive housing of the portal takes up ten feet on each side.

PORTAL FRAME  
Looking down, the Army Captain watches as a small robotic, two legged machine steps through the swirling purple portal and stops just outside.

BAXTER STOCKMAN, 24, Mechanical Engineer, walks over and picks up the robot.  
ARMY CAPTAIN  
Stockman, how are you doing with the materials?  
Let me know if you need any help if you become overwhelmed.

Baxter smiles and nods, holding the robot.

BAXTER STOCKMAN  
Great sir, we have several different samples ranging from dirt, plant life, stone, and several unidentified items so far.  
Thanks for the offer, I'll let you know.

The Army Captain nods and waves for him to continue; Baxter turns and walks to his small work station.

SORTING STATION  
BAXTER STOCKMAN  
Ok buddy, let's see what they sent you back with.

Donning gloves; Baxter carefully opens the robots hinged mouth and peers inside.

Reaching for a new plastic bin, he writes 'SOIL' on the label and dumps the loose material from the robot's mouth.

Grabbing a lid, he seals the bin and places it on the pallet with dozens of matching bins; all labeled different.

Rolling to his computer, he pulls up the serial number of the robot and updates its history.

COMPUTER STATION  
The Army Captain looks at his watch.

ARMY CAPTAIN  
Okay, so its been just about two hours since Charlie Team went through, that equals to roughly ten hours inside the portal correct?  
SCIENTIST  
That is correct sir.  
The time difference is actually amazing; when we first started tes...  
ARMY CAPTAIN  
Get Delta Team on standby.  
When Charlie Team is out and accounted for, waste no time sending in Delta.  
I'm going to go make my reports; call me if needed.

The scientist nods as the Army Captain turns and walks up a set of stairs. Turning, the Army Captain glances to a laser pointed at the portal, its shoots a beam through a black and purple glass rock.

DIMENSION X - NIGHT  
EXT. PORTAL OPENING LOCATION  
A peaceful grass/sand planet sits through the portal.

Massive stone formations climb into the red sky; wind blows sand around the swaying blue foliage.

Trees and plant life stretch up, towards the many planets sitting in the sky.

RYAN HOLGE, 27, Charlie Team Lead, Army Ranger, looks up to the cloudy red sky.  
Staring at the massive planet sitting close in the sky, he looks to his watch and reaches to his com headset.

RYAN HOLGE  
(into com)  
Ryan here. Pack it in guys, everyone meet at the muster point in twenty.  
Time to go home.

Ryan listens to his team check in and turns to walk away. Stopping, he turns back as a large WHOOPING sound comes from above.

In the sky above him, a massive spaceship drops from the thick clouds; watching the ship, Ryan slowly backs away.

EXT. LOWER VALLEY / ONE MILE AWAY  
Located down a rocky hillside, inside a deep valley surrounded by stone formations and a dense blue forest, two Army Rangers,  
KEN SPEE, 28, and JAMES JORDAN, 19, stand over a small puddle in the ground.  
A green material slowly oozes out and around rocks from the ground. Air bubbles occasionally rise, popping.

KEN SPEE  
What the hell is that?

James lowers his earphones from his portable Walkman.

JAMES JORDAN  
Beats me.  
Let's get a sample and send it to Stockman.

Ken pulls out his remote and begins to control the MOU-SR robot; opening its mouth, he scoops a small portion of the green ooze and closes the robots mouth.

KEN SPEE  
Okay, I'll head to the portal and send it throu...

James looks over at Ken and sees he's staring to the sky.

Turning, he watches a massive ship float through the sky; from the bottom of the ship, a bright blue light begins to glow.

Suddenly, a blast shoots out and strikes the ground several miles away; James reaches for his headset.

JAMES JORDAN  
Ryan are you seeing this?  
Contact in the sky.

Only static returns as James turns to Ken.

JAMES JORDAN  
Get that sample and yourself to the portal now!  
KEN SPEE  
What about you?  
JAMES JORDAN  
I'm going to do some quick recon and get some footage, I'll be right behind you.  
Now go!

Turning, James breaks into a run; heading up the inclined rocky hill.

EXT. PORTAL OPENING LOCATION  
Ryan Holge stands with  
JESSICA FREELEY, 26, Army Ranger, watching the many ships now descend from the sky.  
Ryan sees Ken and a retrieval robot sprinting up to them.

RYAN HOLGE  
Where the hell is Jordan?

Ken stops and programs the robot to enter the portal.

KEN SPEE  
(breathing heavy)  
He said he was right behind me; he was getting some footage of the ship.

A massive blast from an another ship sends them ducking down for cover; debris showers them.

JESSICA FREELEY  
We need to get out of here Ryan!  
RYAN HOLGE  
You two go through, I'll wait for Jordan.  
Get out of here.

Ken and Jessica look at each other. Suddenly, another blast hits near them behind the portal; crashing a tree down.

Frowning, they turn and run through the portal; vanishing.

Ryan turns and looks around; more ships fall from the sky.

RYAN HOLGE  
(to himself)  
C'mon Jordan.  
EXT. DENSE FOREST / QUARTER MILE FROM PORTAL OPENING  
James Jordan jumps over a fallen tree and runs through the woods; turning down a path, he skids to a stop and ducks into some foliage.

Ahead, two large red stone creatures wearing square green helmets look around; each holding some sort of weapon.

James watches them from his hiding spot; slowing pulling out his camera, he carefully brings it up and snaps a picture.

The stone creature's heads snap in his direction and they slowly begin to walk his way.

Twenty feet away, one steps on a small hidden device. A pulsating wave explodes, sending the stone creatures into the air; shattering both to pieces.

James hears a branch snap and looks to his right; a pair of goggles are watching him from behind a tree.

Leaping from his hiding spot, James sprints toward the portal.

EXT. PORTAL OPENING LOCATION  
Ryan Holge covers his eyes from the dust blowing around; the planet has a full blown invasion dropping from the skies now, destroying almost everything in sight.

Turning, Ryan hears a voice from behind; a large red stone creature walks from the tree line, pointing a weapon.

Grabbing his own, Ryan aims his rifle and fires. The bullet strikes the stone creature and sparks off; it continues forward, appearing to smile.

As the stone creature begins to fire his weapon, Ryan turns and runs through the portal; moments later, the portal sparks and fades away, disappearing.

EXT. TREELINE  
James Jordan watches from behind a tree as the stone creature inspects the area where the portal once stood.

Shifting back behind the tree, he looks around.

Heading into the woods, he makes his way through a clearing when two cloaked figures, wearing heavy coats and googles, appear from behind trees aiming weapons at him.

Sighing, James puts his hands up.

INT. UNDERGROUND LABORATORY - UNKNOWN  
SORTING STATION  
Baxter Stockman watches as the chaos unfolds in the lab.

Sitting at his desk, he opens his robots mouth; inside, a small amount of green material shines.

Looking around, he carefully dumps the contents into his empty thermos and seals the lid.

Baxter looks over and watches as the Army Captain, sitting with the three remaining Charlie Team members, quietly asks them questions.

Different people, ranked from all branches of military rush around, talking with scientists in the laboratory.

(TIME JUMP TO MARCH 1990)  
INT. LARGE JAPANESE HOUSE - DAY  
BATHROOM  
OROKU SAKI, 18, Elite martial arts student, wipes his hands on the drying cloth inside his homes bathroom in Morioka, Japan.

Looking in the mirror, he studies the red scar starting above his brow, leading past his glossy, white eye; and curves to the rear of his cheek.

Straightening his shirt, he walks out.

HALLWAY  
Walking past a door, Saki stops and looks inside; the sun gleams off a metallic item slightly sticking out from under the mattress of a bed.

BEDROOM  
Slowly walking in, Saki crouches and pulls the small flat box out from under the mattress.

Looking back to the door and listening, he turns to the box and slides it open.

Saki scans the dozens of letters addressed to his sister. They range from many different years. His eye focuses on the same name on each of the letters; Hamato Yoshi.

Sliding a single letter into his shirt, he returns the rest and hides the box under the mattress; silently closing the door, he turns and walks down the hallway.

EXT. LARGE JAPANESE HOUSE - DAY  
BACKYARD  
Oroku Saki walks through the backyard and opens the gate to the family grave.

Standing over the memorial to his brother, he pulls the letter out and reads the address; New York City.

(TIME JUMP TO JULY 1990)  
INT. NEW YORK APARTMENT BUILDING - NIGHT  
STAIRWAY  
Hamato Yoshi, 33, closes his mailbox and carries his bag of groceries up the stairs.

HALLWAY  
Turning the bend, he reaches for his keys as he walks down the dimly lit carpet.

Looking up, he stops; his apartment door is slightly ajar.

Approaching, he places his bag down and slowly enters the apartment.

APARTMENT 412 / ENTRY WAY  
Yoshi slowly walks down the dark hallway of his home.

HAMATO YOSHI  
Hello, is anyone here?  
LIVING ROOM  
Yoshi walks forward to the dark living room.

Standing in the corner, a man wearing dark clothes has his back to him; looking through an old photo album.

HAMATO YOSHI  
Sir? Can I help you?

The man continues to look at the photos a bit longer; dropping the book, he quickly spins and throws an object.

Yoshi looks down and sees the throwing star deep in his chest; blood beginning to redden his shirt.

Looking up in disbelief, the man kicks him in the sternum, sending him flying back onto the ground; sliding into the kitchen.

KITCHEN  
The man walks forward into the dim light. Yoshi stares up at the scarred, white eye; his mouth goes dry.

Oroku Saki smiles.

OROKU SAKI  
I have come for you Hamato Yoshi.  
Do you remember?

Yoshi nods slowly as Saki pulls a dagger from his belt and jumps to drive the blade into him.

Yoshi rolls right as the blade sinks into the floor; sweeping his leg, he trips Saki, knocking him the floor.

Extending his leg up, Yoshi brings a foot down on Saki's temple and jumps to his feet.

Staggering as he stands; Saki ROARS and flips the kitchen table against the wall. Pulling the blade from the ground, he turns and looks around.

EXT. APARTMENT BUILDING - NIGHT  
Hamato Yoshi bursts from the front door of the apartment building and jumps down the stairs.

Turning down the sidewalk; he runs down the street, into the shadows.

Looking down, he pulls the throwing star from his chest and throws it away.

INT. ABANDONED BUILDING - LATER - NIGHT  
Oroku Saki walks past homeless men standing at a small fire; approaching a discarded couch, he sits and looks around.

A woman and two small children sit inside a large water soaked cardboard box. To their right, Saki listens as two  
MEN, 23 & 26, attempt to purchase some sort of narcotic from a DRUG DEALER, 20.  
MAN 1  
What the hell man, you can't double your price over night.  
MAN 2  
Yeah, it's not fair. We need our fix.  
MAN 1  
We have the amount you asked for yesterday.  
DRUG DEALER  
What can I tell you guys; the price has increased. Take it or leave it.  
MAN 1  
But we only have enough for one batch.

Saki watches the men argue back and forth.

MAN 1  
What if you give us two tonight and we'll double the money tomorrow?  
MAN 2  
Yeah, we can get that for you tomorrow, c'mon man.  
DRUG DEALER  
If you think I would put any trust in you two junkies, you must be out your damn minds.

Defeated, the two men give up and split only one batch between the two.

The dealer counts the money and slips it into his pocket.

Walking away, he waves to the men as they sit by the fire and look at their pathetic purchase.

Saki stands and follows the drug dealer.

INT. ABANDONED BUILDING - LATER - NIGHT  
The two men sit by the fire, their eyes glazed over.

Oroku Saki kneels in front of them, holding a large bag of narcotics.

MAN 1  
(hazy)  
Is that blood?

Saki looks down at the bag and sees the small smear of red; wiping the blood stain on his pants, he waves the bag in front of the men.

OROKU SAKI  
Would you like this?

The two men slowly nod and Saki drops the bag to their feet; they both grab for it, tearing it open.

OROKU SAKI  
When I need you for something, I will come back here.  
And you'll do what I ask.  
Understood?

The two men slowly nod as Saki stands.

Walking away, he drops a rolled up wad of money to the woman and children sitting inside the cardboard box.

(TIME JUMP TO 2005)  
INT. CIA GOVERNMENT BUILDING - NIGHT  
HALLWAY  
Two  
GUARDS, 39 & 42, take cover on the corners of opposite sides of a hallway inside a New York CIA building.  
Nodding to each other, one slowly peaks his head around the corner.

A throwing star strikes his temple, and he drops to the floor. The remaining guard inches backwards, away from the hallway; pulling out his radio.

GUARD  
Is anyone there?  
The Foot Clan is attacking the lower east wing.  
The Shredder has been spotted.

His radio only returns static; frowning, he checks his weapon, he begins to retreat.

Turning and trying a door, he finds it locked. Fumbling at his keys, he finally finds the right one.

As he lowers the key to the door, a blade stabs through his neck.

Dropping to the floor, his keys slide from his hand. Reaching down, a gloved hand with two long blades attached to an armored gauntlet picks up the keys.

Turning from the body, Oroku Saki, 33, now known as the  
SHREDDER, looks to the keys. Their reflection gleams off his smooth rounded helmet.  
One of his Foot Soldiers, wearing his black Foot Clan attire with red headband, stands in the hallway cleaning his blade.

Throwing the keys to the Foot Solider, Shredder nods.

SHREDDER  
Clear out these lower rooms of anything important; the van is out back.  
Once done, leave the bodies and burn this place to the ground.  
We will teach them what it means to confront The Foot.

The Foot Solider nods and disappears around the corner.

INT. FOOT CLAN PIER WAREHOUSE - NIGHT  
BASEMENT STOREROOM  
Shredder climbs from the stolen postal van and walks to a table.

Sliding off his two bladed gauntlets, he places them on the table and removes his helmet; he twists and cracks his neck.

Setting the helmet on a stand, he begins to unwrap the white tape from his hands and throw it in a trash bin; he turns back to the van.

Walking forward, he removes the red long sleeved shirt; old scars shine over his torso. Shredder remains only in his matching red pants and armored combat boots.

Watching the Foot Soldiers unload boxes taken from the CIA building, he kneels and begins to look through the different boxes.

Pulling out a dusty VHS tape, he reads a small peeling label on the front; 'PDX'.

INT. ABANDONED UNDERGROUND SEWER MONITOR STATION - DAY  
KITCHEN  
Hamato Yoshi, 48, sits feeding a piece of lettuce to his turtle. The radio on the counter plays a news report of an attack on a government building.

RADIO  
Although sources are tight lipped, rumors are floating that this was a deliberate attack by the Foot Clan.

Yoshi turns off the radio shaking his head.

Returning the turtle to its tank, he gently sets it down with the other three turtles walking around.

Faint voices echo from the tunnel and he slides to the wall near the entrance.

Blowing out his candle, Yoshi peers out from the dark room down a long hallway. Two men in hardhats stand at the end of the hallway. One appears to be a  
CONTRACTOR, 37, and the other; an ELECTRICIAN, 28.  
TUNNEL  
ELECTRICIAN  
Well, what about down this way?  
What's in there?

The other man shakes his head

CONTRACTOR  
No, that's the old sewer monitor station.  
They stopped using that when computers started doing all the work.  
ELECTRICIAN  
They don't use it at all?  
CONTRACTOR  
Nope. They used to have two crews rotate shifts down here.  
It's not needed now.  
ELECTRICIAN  
Okay, well, let's head back to the other junction, we can see what we can do there.  
KITCHEN  
Yoshi watches from the shadows as the two men turn and leave. Turning, he paces around his home; then turns to his turtles.

HAMATO YOSHI  
(to himself)  
We cannot lose our home.

Looking over at a wall, he approaches it slowly and reaches out; he pulls on a brick and it slides out freely.

Kicking at the wall some more; he eventually has a tall pile of old bricks.

Peering into the new hole, it leads into a sewer pipe system; water slowly flows down the curved floor.

INT. FOOT CLAN PIER WAREHOUSE - DAY  
SHREDDERS OFFICE  
Shredder rewinds the video again and presses play. The video begins, showing the body-cam footage of a soldier.

The soldier is on some different planet; the sky is red with spaceships hovering as far as Shredder can see.

The man turns and soon a rifle can be seen pointing straight ahead.

Shredder pauses the film when the rock creature comes into focus; scooting forward in his seat and he looks at the creature for a moment.

Slowly, Shredder presses the remote, moving the film ahead one frame at a time; the rock creature slowly raises its white weapon and begins firing.

Shredder pauses the film as a bright red light streaks the air from the weapon; the rock creature is slightly smiling.

SHREDDER  
(to himself)  
What the hell are you?

Rewinding the footage, he presses play and watches a giant spaceship slowly float across the sky; a large blue pulse fires from the bottom.

Shredder pauses the video and slides over on his chair and dumps the box where he found the VHS.

Glancing over documents, he finds a government contract awarded to a Baxter Stockman. Under his name, it reads; Mechanical Engineer, PDX.

Turning to his computer, Shredder types a search for Baxter Stockman.

Writing down an address, he stands and looks to the paused image of the ship one last time.

INT. STOCKMANS ENGINEERING BUILDING - NIGHT  
SECOND FLOOR LABS  
Baxter Stockman, 45, now self-employed engineer, sits at his desk looking over different components.

A shadow passes the glass partition in front of him and he looks up; scanning the small lab.

BAXTER STOCKMAN  
Hello?  
Is anyone still here?

Adjusting his glasses, he returns to his work; carefully, he guides wires through a piece of metal and fishes them through another end.

Grabbing the wires with his clamps, he pulls the long wires out the other end.

Suddenly, all goes black as a bag is wrapped around his head. Two Foot Soldiers lift him from his chair and carry him away.

BASEMENT  
Baxter slams down into a chair, bag still on his head. Foot Soldiers wrap duct tape around his waist, holding his body and wrists tight to the chair.

A Foot Soldier slides a rope around his neck as another drills a small hole in the table in front of him.

When the hole is cut; the rope tied around his neck is fed through the hole and under the table.

Two Foot Soldiers pull out throwing stars and press them deep into the wooden table around the cut hole.

The bag is ripped from Baxter's head; Shredder sits across from him. Shredder reads the name on his lab-coat.

SHREDDER  
Do you know who I am?

Baxter slowly nods. Looking down; he sees the throwing stars embedded into the wood around the hole.

The rope from his neck feeds through the hole, under the table; to Shredders hands.

SHREDDER  
Then I know you will tell me what I seek.  
If I do not like your answers, I will pull this rope and slam your face into the table.  
Then I will ask again. Understood?

Shredder pulls on the rope to demonstrate.

As the rope is pulled, it feeds through the table hole and pulls Baxter's face inches from the sharp throwing stars.

BAXTER STOCKMAN  
Alright! Alright!  
I Understand.

Shredder releases the rope and leans forward as Baxter sits up gasping.

SHREDDER  
What is PDX?  
EXT. HOME DEPOT - DAY  
Hamato Yoshi pushes his cart out the automatic doors; inside sits a bag of concrete mix and various tools.

Smiling, he lets the sun shine across his face.

INT. TUNNEL - LATER - DAY  
Hamato Yoshi stands in the tunnel where he spotted the two men the previous day.

Reaching for a brick, he smears some concrete down on a wall he is building and pushes the brick in place.

Wiping the edges with a cloth, he nods.

Looking down, he notices he is out of concrete; shaking the empty bag, he sighs.

Standing back, he inspects his work; three quarters of the way finished, he used the old bricks to build a wall closing off his home to the existing tunnels.

Reaching up, he pulls off the metal sign reading;  
Sewer Monitor Station 5.  
INT. FOOT CLAN PIER WAREHOUSE - DAY  
BASEMENT STOREROOM  
Baxter Stockman lights a cigarette and notices his hands shaking.

Puffing on the end, he turns and watches the various Foot Clan members go about their day.

Shredder, still wearing his red outfit without the gauntlets and helmet, approaches him; studying a small vial with a green substance in it.

SHREDDER  
All these years, and you have not studied this?

BAXTER STOCKMAN  
It's from another planet. I sealed that shit up in eighty-four and never opened it again.  
You saw the footage; spaceships and monsters.  
No thanks; I'm an engineer, not a scientist.

Shredder shakes his head; looking down at the green vial, he places it into a small pocket of his belt.

SHREDDER  
I need a list of names you can remember from the portal facility.  
I can send my Foot to find them and extract information.

Baxter nods and takes another pull from his cigarette.

BAXTER STOCKMAN  
Like I said, if you can get me any sort of plans from that lab, I guarantee I can rebuild it for you.  
SHREDDER  
And if you cannot, I will leave your corpse to rot in the sun.

Shredder turns to inspect the Foot Soldiers, pausing slightly, he begins to slowly walk toward a muted television in the corner.

Looking closely to the screen, a segment on local pet adoption is playing; the reporter is standing outside local stores giving her report.

People walk past her, going about their business; standing just outside a PetSmart, a man is bent over feeding some animal in a tank.

Shredder squints at the screen.

Hamato Yoshi smiles, dropping lettuce inside. He picks up the tank and places it inside a cart and begins pushing it along the sidewalk.

Turning, he walks inside a Home Depot.

Shredder grabs the remote and turns the volume on, listening as the reporter ends her segment.

tv  
REPORTER  
...can find more information on Channel Six News' website.  
Reporting live from the twenty-third street PetSmart.  
I'm Cassidy Gates, Channel Six News.  
EXT. NEW YORK CITY STREETS - DUSK  
Hamato Yoshi pushes his cart down the sidewalk; looking in, he checks that his pets are not bouncing around too much.

Stopping at a street vendor, he buys a helping of sushi and some carrot shavings.

Petting each turtle, he drops the shavings in and continues down the road.

STREET ALLEY  
Turning down an alley, Yoshi navigates around debris in the path; further down the other end, two figures step around the corner and stand.

Squinting, Yoshi slows to a stop; two Foot Soldiers stand, blocking the exit. Peering over his shoulder, Yoshi sees a postal van pull up and a man climb out from the side door.

Dressed in armor over red clothing; the man's arms extend out as he walks forward.

SHREDDER  
Does this not bring back memories Yoshi!

Yoshi reaches into the cart and grabs the turtle tank.

Rushing down a branching alley, he runs to a dead end with several dumpsters.

Looking over, he spots a ladder leading to the top of the six story building.

Crouching, he sets his tank down softly near a dumpster. Several rats scream from under the dumpster and scatter, one runs up his arm.

Shaking it out of his sleeve, he turns and jumps to the ladder; climbing.

Shredder throws the cart to its side, spilling out a bag of concrete mix.

Turning the corner, he watches Yoshi struggle up the ladder.

Standing at the base of the ladder, he looks over and spots the small tank; inside tiny turtles roam around.

Looking up to Yoshi, he roars.

SHREDDER  
You cannot escape me this time, this is my city now!  
Tonight you will take your final breath Yoshi!

Shredder jumps on the ladder and begins to ascend at a rapid pace; Yoshi nears the top and looks down to see Shredder swiftly approaching.

BUILDING TOP  
Climbing to the top, Yoshi jumps from the ladder and looks around. Running to a door, he grabs for the handle; locked.

Defeated, he turns; Shredder crouches at the top of the ladder. His eye fixed on him.

Jumping down, Shredder pulls a small sword from his back; it gleams in the setting sun. Slowly, he walks forward.

HAMATO YOSHI  
I never meant any harm to Oroku Nag...  
SHREDDER  
Don't you dare say his name!

Shredder swings his blade, just missing Yoshi's ducking head.

Reversing his grip on the blade, he swings back and feels contact.

Turning, he sees Yoshi holding his arm, backing up to the ladder again; blood drips from his sleeve.

Shredder flicks his blade back and sprays red across the locked door.

Charging, he swings forward and catches Yoshi's hand; sending two fingers across the rooftop.

Shredder swings high and brings his blade down. Yoshi stops and pinches the blade tight between his palms; inches from his face.

As his missing fingers pump blood on the weapon, Shredder forces the blade forward; wiggling the blade back and forth, slicing into Yoshi's hands.

Screaming, Yoshi uses his final strength and pulls the weapon from Shredder, throwing it off the roof. Turning, he kicks Shredder away.

Backing up, Yoshi begins to feel weak from blood loss; his feet back into the wall and he sits weakly on the edge.

Looking over his shoulder, he looks down to the alley way; his turtles scramble around in their tank.

SHREDDER  
You are pathetic Yoshi.  
You run and hide for years because, deep down, you know you were wrong.  
HAMATO YOSHI  
No! I ran because I could not bear to see Shen upset.

Yoshi lowers his head.

HAMATO YOSHI  
Even though your brother attacked me, I wronged the woman I loved.  
I couldn't face her.

Shredder pulls off his helmet and drops it to the ground; his deep scar shines in the light. His white eye stares at Yoshi.

Walking up to Yoshi, Shredder grabs the man by the collar and holds him up; shaking him violently.

SHREDDER  
Stand and fight coward!  
Perhaps if I was a child you would fight?

Yoshi shakes in the air, grasping onto Shredder as he loses his strength; he rests his tired head on Shredders shoulder.

His hand finds something and grabs hold.

Frustrated, Shredder sets him on his feet and walks away. Yoshi looks to his hand; a small green vial rolls across his bloody palm.

Shredder stands with his back to him, pulling throwing stars from his belt; slowly, he turns.

SHREDDER  
For my brother, who you murdered!

He throws a star and strikes Yoshi in the leg.

SHREDDER  
For my sister, who you abandoned!

Another star sinks into Yoshi's arm.

SHREDDER  
And for my parents, who you took most from.

Shredder takes aim and throws the star at Yoshi's head.

Instinctively, Yoshi holds his hands up and the star shatters the green vial as it sinks into his hand.

The green substance burst out of the glass vial and covers Yoshi's upper body.

Looking through the substance, he sees Shredder running toward him; Shredder crouches low and plants his feet.

Springing up, he strikes Yoshi is the sternum with a devastating kick; sending him sailing over the wall.

Yoshi falls from the building, slamming through the plastic lid and into an empty dumpster.

Shredder watches from the building top for several minutes. He inspects the damage done to Yoshi and nods.

Turning, he vanishes from the buildings edge.

INT. FOOT CLAN PIER WAREHOUSE - LATER - NIGHT  
MEETING ROOM  
Shredder walks in the room and walks to a sink, he begins to wash his hands. His red outfit is spattered in dried blood; his gauntlets and helmet are off.

SHREDDER  
I apologize gentlemen, I had a last minute situation come up.

A group of seven men sit at the center table, watching Shredder turn towards them.

SHREDDER  
I want to thank each one of you for deciding to absorb your operations into the Foot Clan.  
Together, we become stronger and will be a powerful force in the shadows of New York.  
SAM RICCO, 57, Italian drug lord, leans forward; looking annoyed.  
SAM RICCO  
It's not like you gave us many options Shredder.

Sam holds up his left arm; his hand is missing from a bandaged stub.

SHREDDER  
I won't apologize for my methods Mr. Ricco.

Sam chuckles and leans back, crossing his arms.

SHREDDER  
But I can promise you a very profitable opportunity.  
Joining the Foot Cl...  
SAM RICCO  
Can this facility even handle the amount of product that moves through my building?

Shredder stares at him coldly.

SAM RICCO  
And where are the Purple Dragons?  
I see no representative from them.

Shredder sits at the head of the table.

SHREDDER  
I assure you, we can handle the workload. I have acquired a larger facility that we will be transferring to in the coming year.  
As far as the Purple Dragons go, leave them to me; you know better than most I get things done.  
And if you ever interrupt me again, I'll take your other hand and feed it to your wife.  
EXT. ALLEY - NIGHT  
Hamato Yoshi suddenly sits up in the dumpster; breathing heavy, he checks over his wounds.

Lifting his hand to his face, his missing fingers have stopped bleeding.

Slowly standing, he looks around the dark alley; rubbing his eyes, he notices he can make out all details of the alley, although there is no light source.

Climbing out of the dumpster, he checks his wounds where the throwing stars struck him; tiny scars are healing where the stars entered his skin.

Looking back into the dumpster, he sees the stars laying around.

Standing straight, he stretches out his back; he feels almost no pain. Turning to the alley, he glances down; his turtles walk around slowly.

Kneeling, he smiles at his pets. Looking closely, he notices they are walking around a strange green substance.

Realizing it was from the vial he grabbed, he quickly looks around; grabbing some newspaper from the ground.

Slowly he wipes each turtle off, one by one, and sets them in a tiny cardboard box he found.

Flipping the tank, he dumps the contents in a dumpster and cleans the glass.

Satisfied, he returns the turtles to the tank and picks it up; walking out of the alley.

A pigeon lands on the dumpster; one of Hamato Yoshi's fingers in its mouth.

Dropping the finger, the pigeon picks at the mutagen covered newspaper; turning, it fly's away, running into a window and dropping to the ground.

Standing on the ground, the pigeon shakes its head and fly's away.

INT. ABANDONED UNDERGROUND SEWER MONITOR STATION - NIGHT  
ENTRANCE  
Hamato Yoshi ducks under his new entrance and walks into his home from the sewer pipe.

Walking forward; his breathing is labored.

KITCHEN  
Setting the tank on a counter, he fills a small bowl with water and sets it in the tank.

Opening his small mini refrigerator, he unwraps some lettuce and drops it in the tank; turning away, he has a sudden rush of pain and leans on the counter.

Turning, he drinks from the sink faucet and stumbles to his room.

BEDROOM  
Yoshi staggers to his bed; dropping into it; sweating and shaking, he holds back the notion to scream.

As his body begins to spasm, his eyes roll back and he passes out.

(TIME JUMP TO 2010)  
INT. SHREDDERS DOWNTOWN BUILDING - NIGHT  
PORTAL ROOM  
Baxter Stockman, 50, turns from his desk holding a blueprint and looks to the beginning frame of his portal.

Turning the paper over, he inspects and nods. He makes some notes on the paper and lays it down, reaching for his pack of cigarettes.

Shredder, 38, walks into the room holding a box of scattered notebooks and papers. He looks to the portal as he approaches and sets the box down.

SHREDDER  
This is from a man claiming to be the lead designer of the portal.  
He never built the device, but was contracted by the government to design it.  
These are the only notes he had left; the government seized the rest.

Baxter looks to the box nodding.

SHREDDER  
I have been patient Stockman, but it wears thin.  
Yes, you have produced an impressive frame of the portal; but I expected to already be up and running by now.

Baxter shrugs, blowing smoke in the air.

BAXTER STOCKMAN  
I've already told you Shredder, I can have this baby up and running inside a month.  
But without the Saturn Glass, we cannot proceed.

Shredders eyes narrow.

SHREDDER  
Yes, this rock you speak of.  
BAXTER STOCKMAN  
It's the keystone to this whole operation.  
Without the Saturn Glass, you'll never get this working.  
SHREDDER  
I have already planted someone inside the NASA organization.  
With hope, he will produce something for us.  
BAXTER STOCKMAN  
And while we wait, I have something else to show you.

Standing, Baxter snubs out his cigarette and leads Shredder out the door.

STAIRWAY  
Baxter Stockman walks down the steps with Shredder following.

BAXTER STOCKMAN  
I've been working on this for a few years now.  
Getting all the coding right was a real pain in the ass. But, I think I've worked out all the kinks.  
Your input will be very useful.

Shredder follows down the stairs to the basement levels.

BASEMENT GARAGE STOREROOM  
Baxter walks over to his smaller work station and sits in the chair; a Foot Soldier stands beside his desk.

Baxter types into his computer; turning, he spots some Foot Clan members working on various things.

BAXTER STOCKMAN  
You five men, please come over here.

The men turn and begin to walk toward Baxter and Shredder. Nervous, they stand at attention in Shredders presence.

Baxter types some more on the computer and the lone Foot Soldier walks from his desk toward the five members.

BAXTER STOCKMAN  
Can you five please attack this Foot Soldier.  
I want you to knock him to the ground.

The five men turn, and look at Shredder; who nods.

Slowly, the five surround the Foot Soldier who just stares them silently, turning his head slightly to watch them.

A man from behind strikes first, swinging his fist toward the Foot Soldiers head.

Turning swiftly, the Foot Soldier grabs the man's hand and squeezes. Bones crack as the man screams in agony.

Another two men kick the Foot Soldier from behind, the Foot Soldier moves with incredible speed; elbowing one in the nose and bringing his fist forward, striking the other in the jaw.

Turning, the Foot Soldier faces the last two men.

Sliding a blade from his back as he runs forward. The Foot Soldier drops to his knees and slides between the two men; swinging once.

The last two men stagger and drop. Standing, the Foot Soldier returns his blade and turns to Shredder.

Baxter walks up to the Foot Soldier and pulls the Foot Clan mask off; he looks to Shredder.

BAXTER STOCKMAN  
The Foot Bot.

Shredder looks closely at the metal robotic face, its eyes glow red.

SHREDDER  
Impressive, it moves so fluid.  
I thought it was a man.

Baxter nods, turning to the Foot Bot.

BAXTER STOCKMAN  
Status report.

The Foot Bot raises its hand and projects an image of its body slowly rotating in the air.

Status bars branch off various body parts scrolling data. Each sector reads one hundred percent in the top corner.

BAXTER STOCKMAN  
I've been perfecting this for many years.  
I still have some work to do, but I feel comfortable moving forward with mass production.  
If you will allow it, of course.

Shredder looks to the Foot Bot, then to Baxter.

SHREDDER  
Do it.  
INT. SEWER LAIR (ONCE THE SEWER MONITOR STATION) - DAY  
SPLINTERS BEDROOM  
SPLINTER, 53, formally Hamato Yoshi, now a large mutated rat; sits in his meditating position wearing his red robe.  
Hearing whispering voices, he smiles and opens his eyes slightly; looking to his door.

Four small turtle heads stick out from both sides, looking in.

SPLINTER  
Come join me, my sons.

The door opens and inside walk four small turtles, 8, each slightly differ in skin tone and height.

The smallest of the four jumps into Splinters lap, sitting down.

SPLINTER  
(laughing)  
Oof. Michelangelo, you are getting heavy.  
You see my son, Raphael was wrong, you are getting just as big.  
MICHELANGELO, the smallest turtle, flexes.  
MICHELANGELO  
I've been working out.  
SPLINTER  
So tell me, what have you been doing today?  
Still exploring the sewers Donatello?  
DONATELLO, the thinnest turtle, looks to LEONARDO, oldest of them all, then back to Splinter; lowering his gaze.  
Splinter looks to Leonardo worried.

SPLINTER  
What is it my child?  
Is everything okay?

The stockiest turtle,  
RAPHAEL, crosses his arms.  
RAPHAEL  
We were bored father, so we started looking around the house for something to do.  
We found something.

Leonardo stands and slowly walks to the door.

Bending over, he slides a sword, too large for him, inside the room and tries to pick it up.

Unable, the swords blade CLANGS to the ground; Leonardo looks up embarrassed.

LEONARDO  
We're sorry father.  
We didn't mean to snoop.

Splinter sighs; standing he picks up Michelangelo, placing him on the bed.

He motions for the others to join, and all four turtles climb up next to Michelangelo.

Splinter bends and picks up the weapon; twirling it around, he quickly shows off his skills, smiling.

The turtles stare in amazement.

MICHELANGELO  
That's awesome.  
RAPHAEL  
Can I try father?

Splinter smiles and places the sword on his dresser. Turning, he sits on the dressers edge.

SPLINTER  
My sons. You only need to ask and I would have shown you.  
That weapon is from a very long time ago, when I was a student in Japan.  
I was training in the art of Ninjutsu, before I came to America.  
LEONARDO  
Could you teach us?  
DONATELLO  
We can try really hard.

Splinter smiles and studies them for a moment. Finally, he turns to the dresser again.

Sliding his pointed finger down the metal blade. His eyes look to the scars where his fingers were once missing; now grown back, pink with sharp nails.

Looking up, he sees the young turtles sitting in the bed through the mirror; sighing, he turns back to the turtles.

SPLINTER  
I will teach you, my sons.  
START MONTAGE / 2010-2018 (TURTLES SLOWLY GROW)  
LIVING ROOM  
Splinter shows the turtles basic techniques in stance.

SEWER  
The turtles practice jumping to cover in the shadows.

TURTLES BEDROOM  
Leonardo and Raphael practice blocking techniques while Donatello and Michelangelo sleep. Splinter watches from doorway.

LIVING ROOM  
Splinter spars with turtles, hand combat only.

NEW YORK NEIGHBORHOOD (HALLOWEEN)  
Splinter walks down road dressed as a large cardboard PacMan. The turtles all wear different colored sheets as the ghosts.

WOODS  
Splinter looks for the turtles as they avoid his detection.

LIVING ROOM  
Splinter gives each turtle their own different weapon.

SPLINTERS ROOM (CHRISTMAS)  
The turtles wake Splinter up and drag him out of bed to the Christmas Tree.

WOODS  
Splinter watches Leonardo and Raphael practice fighting with their weapons. Michelangelo and Donatello kneel, waiting for their turn.

SEWER  
Donatello watches out a storm drain while Michelangelo uses his skateboard. He sees a freckled red-headed child playing. April O'Neil, 10, turns and looks at him. They wave to each other.

LIVING ROOM  
Splinter spars with turtles, hand combat only. The turtles all wear red cloths tied around their eyes; preventing them from seeing.

WOODS  
Splinter meditates with turtles around a fire. Michelangelo sneaks in marshmallows.

SEWER  
Raphael sits, throwing bricks. Leonardo swings his sword at the objects, slicing them in half. The pile slowly grows.

WOODS  
Wearing their eyeless red cloths, the turtles climb tree branches, helping each other find the way using only their voices and memory.

LIVING ROOM  
Splinter places empty soda cans around the room. Raphael knocks them over one at a time with throwing stars.

Splinter reaches down and picks up a throwing star. Throwing it back, Raphael block the star with his sai.

KITCHEN (THANKSGIVING)  
Splinter looks up surprised. Donatello looks scared/embarrassed standing in the entrance with April O'Neil, 13. Splinter nods, and she joins them to eat.

WOODS  
Splinter watches the turtles, each wearing different colored bandannas, fight each other. He gives advice, and they start again.

LIVING ROOM  
Turtles rest and heal, laying around. Splinter reaches into a bag and pulls out a VHS of Predator. The turtles watch it in awe. (  
Begins obsession with using pop culture quotes)  
SEWER  
Splinter walks with Donatello, he points and Donatello picks up some more discarded computer parts.

LIVING ROOM  
Splinter holds training pads as Raphael punches them. Slowly Splinter gets pushed back. Splinter inspects the damaged pad.

WOODS  
Michelangelo watches as Splinter stabs the last watermelon on the spike. Turning, he nods to Michelangelo. Running through the obstacles, Michelangelo swings his weapons. Sliding to a stop, he looks back at the destroyed melons. Splinter clicks his stopwatch, nodding.

LIVING ROOM  
The turtles all hold up films they want to watch. Raphael holds up Die Hard, Leonardo holds Jurassic Park, Donatello holds Mortal Kombat, and Michelangelo holds Dumb and Dumber.

Splinter looks over the choices and picks Jurassic Park. They watch eating popcorn.

KITCHEN  
The family, with April O'Neil, 16, eat pizza, laughing at jokes and telling stories.

SEWER (IT SCENE 1)  
Michelangelo, wearing white clown makeup, scares a water line worker from a storm drain. The man goes running. Michelangelo and Donatello burst into laughter.

DONATELLO'S WORKSHOP  
Donatello works on a microwave. Pressing the power, the turtles smile in delight as it starts. Slowly, smoke pours from the top and burst into flames.

Splinter throws the microwave in some sewer water, patting a disappointed Donatello on the shoulder.

KITCHEN TABLE  
Leonardo points to an area on a city map and slides his finger down a path. Splinter shakes his head and shows him another path. Leonardo nods, listening to Splinter.

WOODS  
Splinter fights with his sons. Using full strength, they spar with their weapons. After taking on each one, Splinter sits exhausted. He nods proudly.

LIVING ROOM  
Splinter teaches the turtles to pack Battle Bags. Each turtle will carry their own bag and select what goes in it.

SEWER (IT SCENE 2)  
The same water line worker slowly climbs down a ladder, shining his flashlight around.

Michelangelo, in his clown makeup, hides in deep water.

As the man walks forward, Michelangelo bursts from the water shaking his head and arms. The man climbs out and runs down the street.

LIVING ROOM  
Splinter sits with the turtles watching TV. A news report of a Foot Clan attack airs.

WOODS  
The turtles train with their weapons. Using each other, they flip and strike at various targets scattered. Standing together, surrounded by destroyed targets, they smile.

SEWER  
April O'Neil, 18, and the turtles sit in the sewers; skateboarding and listening to a radio.

Donatello hands a piece of pizza to April and she takes it, smiling at him. Raphael smiles and nudges the surprised Donatello.

LIVING ROOM  
Splinter looks around for the turtles. Unable to find them, he opens the refrigerator and smiles at a plate of sushi.

WATER TOWER  
The Turtles flip and climb up the rusty Water Tower, reaching the top, they stand and look over the woods at the bright New York city.

END MONTAGE / 2019  
INT. SEWER LAIR - NIGHT  
LIVING ROOM  
The maintenance room has been transformed into a home for Splinter and the turtles; now sealed off from the tunnel system, the sewer pipe opening has become their door.

Many extension cords run in from the opening, supplying power to all their needed items.

Splinter, 62, sits on the couch watching Raphael and Donatello practice; Leonardo and Michelangelo sit around viewing.

SPLINTER  
Begin!

Raphael, 17, and Donatello, 17, face each other. Rushing forward, Raphael swings his weapons.

Donatello twirls his bo staff and blocks all of Raphael's attempts. Spinning around, Donatello swings his staff and Raphael catches it in his sai; smiling.

Donatello twirls his staff suddenly and one of Raphael's sais go flying across the room.

SPLINTER  
And now you are down to one weapon Raphael.  
Remember, it's not always wise to rush in; Donatello has the reach advantage.  
You must survey the situation and be one step ahead.  
RAPHAEL  
Yes father, but there isn't much to survey in this living room.  
It's been the same for years.

Splinter stands from the couch, facing Raphael, standing in his training stance.

Donatello joins his brothers watching, as Raphael crouches in a defensive position; grabbing his lost sai thrown from Michelangelo.

SPLINTER  
Begin!

Raphael begins to come forward as Splinter grips the rug with his foot; pulling it hard.

Raphael loses his balance and falls backwards on the ground. Splinter walks over to him and places his walking cane to his throat.

SPLINTER  
And now you are dead.  
Always be aware of your environment.

Splinter throws the rug over Raphael's face and sits back down on the couch, smiling.

MICHELANGELO  
The ol' rug pull huh?  
Classic.  
SPLINTER  
Perhaps Raphael is right though.  
I think it is time we test our training in some real world situations.  
LEONARDO  
Do you think we are ready?  
SPLINTER  
I don't think I can teach you much else down here.  
We need to start developing your skills further.  
For battle.

Donatello looks up from his computer.

DONATELLO  
The Shredder?  
SPLINTER  
One day perhaps my sons; his Foot Clan is strong, and many.  
He has a grip on this city I have not seen in a long time.  
We shall find a proper test for you though; soon.  
INT. SHREDDERS DOWNTOWN BUILDING - NIGHT  
PORTAL ROOM  
Baxter Stockman, 59, stands back from the almost complete portal checking connections; he smiles.

Turning, he walks over to a Foot Bot and slides a computer chip from the side of its head; sitting down, he lights a cigarette, and looks at the chip through a magnifying glass.

BAXTER STOCKMAN  
Now, let's see what happened to you.

A shadow falls over his desk and Baxter looks up.

Shredder, 47, peers down.

SHREDDER  
I leave for Pittsburgh soon, the power cores are to be displayed at the Military Expo.  
How close are we to obtaining the Saturn Glass?

Baxter reaches for his phone and reads through his messages.

BAXTER STOCKMAN  
Last I heard, Williams reported the shuttle is due back to Earth sometime in the next three weeks.  
As it gets closer, he will give us a better timeline.  
SHREDDER  
And he is positive they have the Saturn Glass?  
BAXTER STOCKMAN  
Yes. He's sent detailed reports of NASA's Saturn mission.  
They took many samples from the rings.  
He found reports of materials matching the description of Saturn Glass.  
SHREDDER  
Excellent.  
All this time, and we finally stand on the door step.  
How are the new models of Foot Bots fairing?

Baxter glances at the robot for a moment and shrugs.

BAXTER STOCKMAN  
I see little issue with them other than the usual bugs.  
I'll have them fully operational before you leave for Pittsburgh.

Nodding, Shredder turns and heads for the door.

BAXTER STOCKMAN  
(over his shoulder)  
Be careful with those power cores, we need two of them to open the portal.  
INT. SEWER LAIR - DAY  
LIVING ROOM  
Donatello lays on the couch, looking over a new piece of computer circuit board.

He peels a piece of garbage from it and flicks it to the floor.

DONATELLO  
I can't believe what people throw out.

Leonardo looks up from the kitchen table while he wipes his sword blade clean.

LEONARDO  
Yeah, why throw it out when they can give it to you.  
You're more than happy to burst it into flames.

Donatello smirks, shaking his head.

DONATELLO  
It was one TV.  
And two microwaves... and a computer.

Leonardo shakes his head, sliding his sword into a hanging scabbard.

A news  
REPORTER comes on the television and Donatello turns to watch.  
TV  
REPORTER  
New reports are coming in from last years disappearance of Donald Zalaz.  
As you might remember, last September, Zalaz; who was a leader in electrical engineering, was reported missing from his home after one of his colleagues grew concerned he was missing work.  
After months of searching and hoping, his family might finally have some answers.  
A pair of hikers came across a grisly scene while on a walk yesterday morning in Forest Park.  
A body was recovered and later identified as Donald Zalaz.  
Authorities are keeping details scarce, but reports are swirling of a possible connection to the Foot Clan.  
Channel Six will continue to follow this story and have new details tonight on our seven o'clock news hour.  
LIVING ROOM  
Donatello shakes his head and begins to think.

DONATELLO  
Isn't that like the fourth or fifth engineer to be found dead lately?

Leonardo sinks down into the chair opposite the couch and shrugs, laying his head back.

LEONARDO  
Possibly, I seem to remember you mentioning them here and there.  
DONATELLO  
Yeah. I'm pretty sure that makes at least five.  
I wonder if there's a connection?

Raphael walks in from the homes entrance wearing his tan overcoat and brown hat. He carries an extension cord over his shoulder.

April O'Neil enters behind him carrying her laptop.

RAPHAEL  
Donnie, I got you another cord; still works.

Raphael slides the extension cord off and throws it on Donatello's lap; Donatello begins to look it over.

RAPHAEL  
(pointing to April)  
Also found this lost puppy in sewer and figured it could use a home.

April rolls her eyes, smiling as she punches Raphael in the shoulder.

Turning, she walks to the kitchen and lays her laptop on the table as she opens the refrigerator; pulling out a bottle of water, and opens it and leans on the counter.

APRIL O'NEIL  
I'd rather just come here between classes. Saves me having to find another parking spot.  
Plus, you guys love me.

Donatello stands from the couch and walks to the TV; he reaches to the back and unplugs the tightly stretched existing extension cord.

Adding on the new extension cord, he is now able to push the TV further back against the wall.

DONATELLO  
Alright. Good find, we can finally have this TV up against the wall.  
Mikey will be excited; he won't stub his toes as much.  
RAPHAEL  
Yeah, we'll see.  
He'll still trip over all these cords we have running everywhere though.  
DONATELLO  
I know. But we need all these.  
Can't exactly have the power company come down here and flip on the power.  
For now, we'll just run extension cords and quietly borrow some juice.

Donatello smiles and walks over to April.

DONATELLO  
Hey you want to help me look over some things.  
Me and Leo just watched a report on some engineer found dead; I wanted to see if there were any possible connections to previous murders.  
Might even give you a chance to put all those classes to a test and go ask some questions.

April nods excitedly and follows Donatello to his room.

APRIL O'NEIL  
April O'Neil, Investigative Reporter.  
Just you wait boys.

Raphael hangs his coat and sits across from a resting Leonardo.

Leonardo opens his eyes slightly and sees Raphael looking at him; smiling.

LEONARDO  
Uh oh, I know that look.  
What?

Raphael's smile grows.

RAPHAEL  
I found something else at the dump today to.  
I don't think you're ready for this.

Sitting forward, Raphael reaches behind and pulls a DVD case from his belt and holds it up;  
Top Gun.  
RAPHAEL  
I feel the need.  
RAPHAEL & LEONARDO  
(excited, in unison)  
The need for speed!  
LEONARDO  
Dude, put that on right now; I was so bummed when the VHS broke.  
(yelling over shoulder)  
Mikey! Danger Zone!  
Raph found a new Top Gun!

A loud rumble comes from a room, the door opens and Michelangelo walks out from his room wearing aviator sunglasses; he stands behind the couch, looking at them.

MICHELANGELO  
(dead serious)  
Talk to me goose.  
INT. SEWER PIPE - DAY  
STORM DRAIN OPENING  
Splinter watches through a storm drain as the people above walk around.

He sees an alley across the street with a ladder climbing to the roof.

Looking up, he inspects the building; to the left of the alley, a small park where people go to walk and exercise stretches far.

Reaching into his bag, he marks an 'X' on the wall underneath the drain.

Satisfied, he walks down the sewer pipe; whistling on his return home.

INT. SEWER LAIR - LATER - DAY  
LIVING ROOM  
Splinter walks into his home and finds the turtles watching  
Top Gun.  
Hanging his bag and walks over sits on the couch arm.

SPLINTER  
Tonight we go above my sons.  
I have found a place I think will suit us. We will take it slow and strictly observe these first few times.  
Agreed?

The turtles all nod and begin to smile.

SPLINTER  
Rest and remember your teachings.  
Don't forget your Battle Bags.  
INT. SEWER PIPE � NIGHT  
STORM DRAIN OPENING  
Splinter stands where he marked the 'X' and looks through the storm drain into the dark night.

The turtles stand behind, wearing their Battle Bags.

SPLINTER  
Leonardo, we need to get to the alley across the street and climb the ladder to the roof.  
There are most likely people above and the street lights are many.  
What's the solution?

Leonardo steps up beside Splinter and surveys the scene; his eyes scan around as he chooses his options.

The alley is dimly lit by a single light hanging from the buildings wall.

LEONARDO  
There is a sewer grate in the alley; I'm guessing we can find its access down here off a branching sewer line.  
Raphael can take the small light out from here, using his throwing stars, before we head for the ladder.  
SPLINTER  
Good.  
Raphael, you are up.

Raphael pulls a throwing star out and looks to the small light; standing back from the opening, he focuses and controls his breathing.

RAPHAEL  
Mikey, take lookout.

Michelangelo jumps to the opening and quickly looks back and forth.

He jumps back, out of Raphael's way; giving the thumbs up.

Raphael takes two quick steps and whips his throwing star through the opening; the light shatters and the alley plunges into darkness.

SPLINTER  
Excellent.  
Now find us that ladder Leonardo.  
INT. SEWER - NIGHT  
SEWER GRATE LADDER  
The turtles gather under a ladder with Splinter, looking up to the sewer grate.

SPLINTER  
Donatello, where is the ladder on the building located from here?

Donatello thinks a moment.

DONATELLO  
If we climb this ladder facing this direction, it will be at our four o'clock.  
SPLINTER  
Correct.  
Always keep the layout of your environment in your mind.  
You will be surprised how your body automatically responds and reacts when you prepare and study your situation.  
Michelangelo, I want you to go first. Remember, quickly and silent.  
Survey, Decide, Respond.  
Once Mikey has moved, I would like you all to be on the roof under one minute.

The turtles all nod as Splinter looks them over.

SPLINTER  
Begin.

Michelangelo jumps to the ladder and climbs as the rest follow.

EXT. ALLEY - NIGHT  
The sewer grate lifts slightly and Michelangelo looks through the small opening.

Slowly, he slides the lid quietly to the side and looks around; the alley is dark and quiet.

Michelangelo jumps from the opening and springs to the ladder; grabbing onto the rail, he propels himself up and grabs another, one more jump and he peers over the edge of the building; all clear.

EXT. BUILDING TOP - NIGHT  
Michelangelo jumps to the top and takes cover near some rooftop equipment; as he looks over, Donatello is already over the top and Raphael climbs into view.

Leonardo and Splinter quickly come last and regroup with the others.

SPLINTER  
(whispering)  
Very good my sons, remember to always cover your trail.  
If you were to look, I replaced the sewer grate lid to its original position; no evidence we were ever there.

Splinter turns and inspects the rooftop.

SPLINTER  
Now, let's take a look around and go over some examples of we could run into.  
I want you each to pick a building in the vicinity and survey it.  
We will meet back here in two minutes and you will tell us how you plan to get to the building top without detection.  
We will attempt whomever has the best approach.  
Begin.  
INT. APRILS VAN - NIGHT  
April O'Neil shifts her yellow Chevrolet Express van into park and glances at her phones GPS.

Looking out her window, she squints at a house.

EXT. STREET - night  
Opening her door, April climbs out and slides open the side door; reaching into her bag, she pulls out a slim notepad and pen.

As she shuts the door, she slips the notepad in her back pocket and walks toward the house.

EXT. PORCH - night  
April walks up to the steps and rings the doorbell; nervous, she begins biting the nail of her thumb.

The door opens and she smiles at an  
OLDER WOMAN, 62, Latin American retiree, looking out to her.  
The woman opens her screen door, smiling warmly.

OLDER WOMAN  
Hello dear, may I help you?  
APRIL O'NEIL  
Hello ma'am, my name is April O'Neil.  
I'm sorry it's so late in the evening.  
I was wondering if I could ask you a few quick questions about your late husband?

The woman raises her eyebrows slightly as she looks over April.

EXT. BUILDING TOP - NIGHT  
Splinter lands on the roof top and takes cover near the turtles.

SPLINTER  
(whispering)  
Raphael chose to jump on the utility post, then vault across to this roof.  
Michelangelo, why do you think he selected that approach?  
MICHELANGELO  
Darkness.  
With the bright street lights and buildings below, we blended into the dark sky above.

Splinter nods and turns to Leonardo; waiting for an answer.

LEONARDO  
Line of sight.  
Once we were on top of the pole, we had a clear view of our surroundings to survey and execute our jump.  
SPLINTER  
(nodding)  
Survey, Decide, Respond, very good.  
Now, let's change things up and study another type of environment.

Splinter walks to the buildings edge with the turtles and looks over a small exercise park.

Fresh cut grass lays with multiple trees planted around.

A walking trail curves around the park lit by yellow street lights; a few people are working out and using the stationary equipment.

SPLINTER  
Now, as you can see, we run into a different situation here.  
We run out of building tops, so we must adapt.  
Donatello, say we needed to cross this park, but as you see, people are still in the area; what would your approach be?

Donatello looks around, he watches a man run down the path listening to his music and vanish behind large trees.

Turning, he begins to scan the other existing trees.

DONATELLO  
Trees.  
Traveling through the taller ones, we could hop from one to the other and make it across.  
I'd say those six  
(pointing)  
in a zigzag pattern, could give us the ability to cover the distance.

Donatello smiles at his decision and turns to Splinter.

Splinter, never hearing him, is focused; staring out into the park.

DONATELLO  
What is it?  
SPLINTER  
Those two men... they are following that couple.  
At a distance, but definitely trailing them.

The turtles all turn and locate the two  
GOONS, 22 & 25, walking slowly behind a young couple holding hands.  
The couple slowly walk through the park, toward the exit.

SPLINTER  
Survey.  
EXT. STREET - LATER - NIGHT  
The man and woman walk down the street sidewalk, unaware of the two men slowly walking behind.

As they approach a car, the man reaches into his pocket and pulls out a set of keys; pressing the unlock button, the cars lights flash once.

Reaching for the handle, the man glances to his left as someone strikes his face with an object.

Falling, he hears his girlfriend scream as his vision blurs.

The goon stands holding the keys and smiles; he pretends to whack the air with his lead pipe as he watches the woman run into an alley.

GOON 1  
Damn it man, go grab her purse.  
She still has that ring they bought earlier.  
GOON 2  
Okay, okay. I'll meet up at the shop.  
Get this car out of here.

The second goon runs for the alley as the other climbs into the car and quickly drives off.

EXT. ALLEY - NIGHT  
The goon turns the corner and slows to a stop. He looks around smiling; dead end.

GOON  
Hey lady, I just want the purse.  
Don't make this harder for yourself.

He waits as only silence returns.

GOON  
If I have to find you, I'll take more than the purse.

A moment later, a purse is thrown from behind a pile of pallets. The goon smiles; seeing the woman hiding behind the wood.

GOON  
See, wasn't so hard.

The goon walks forward and crouches at the purse.

He opens it and rummages through the contents, pulling the ring box out; a smile crosses his lips as he views the diamond.

Dropping it back in the purse, he laughs.

GOON  
The Purple Dragons thank you for your contribution.

A sudden CLINK gets his attention and he looks up.

A small object is sticking into the building; reflecting the yellow light next to it.

He squints, but can't make it out.

A moment later, he hears the POP of glass as the alley goes completely dark.

The woman sits behind the pallets, weeping, as the goon begins to scream.

She jumps as her purse falls to her side from above.

INT. SHREDDERS DOWNTOWN BUILDING - DAY  
SHREDDERS OFFICE  
Shredder is looking over building blueprints in his private office when the door slams open.

BEBOP, 28, purple mo-hawked leader of the Purple Dragons, walks into the room.  
His thin frame wears blue jeans, red sneakers, and a cutoff black biker coat.

BEBOP  
What the hell kind of karate kicking freaks are you pushing on my territory Shredder?

Bebop walks to the desk and leans down, peering at Shredder over his purple glasses.

Shredder sorts his papers and leans back in his chair.

SHREDDER  
I don't recall ordering any such thing.  
What do you speak of?

Bebop shakes his head and reaches into his jacket; he tosses a USB drive on the desk, it slides near Shredder.

BEBOP  
One of my guys was making a move last night, got messed up pretty bad.  
I watch his body cam footage and see some kung-foo shit that makes me think, gee, this looks like my good buddy Shredder in my territory.

Shredder looks to the USB and picks it up; reaching to his computer, he brings up the file.

The footage shows a man calling to some woman, a purse is thrown and the man walks to the bag.

Bending over, he looks up and then the footage goes dark for a split second; the night vision turns on and the alley comes back into view.

Shredder sees a dark figure quickly jump to the ground and scoop the purse up, jumping out of frame. A scream lets out and the man raises his bloody arm, missing fingers.

The footage then shakes as the man gets knocked to his back. The video points straight to the sky. Suddenly, another large dark figure pounces on the man holding sai's.

The creature, Shredder realizes, quickly stabs his weapons multiple times in the man's stomach and jumps up to a window on a building.

Grabbing the edge, it leaps up to the building top and pulls itself over; five shadowy figures stand over the building edge looking down, then they disappear.

Shredder sits back in his chair, thinking.

BEBOP  
I got him out of there.  
He'll probably make it, I don't know.  
What kind of weirdos are you recruiting here?  
SHREDDER  
This was not me Bebop, you have my word.  
I've never seen those creatures before.  
They move like... like something I haven't seen in a long time.  
BEBOP  
Bullshit.  
Ya'know... I've accepted your dominance in the city over the years.  
And we've even formed a somewhat mutual respect for each other, or so I thought.  
But now I have karate freaks attacking my men in my territory. Purple Dragon territory!  
So now, I have to come down here, waste my time, and have you lie to my face?

Shredder stands, annoyed, walking around his desk.

SHREDDER  
How dare you come into my building and accuse me of such things.  
Leave at once Bebop, before I fill the streets with the blood of Purple Dragons.  
You only exist today because I allow it, remember that.  
The Foot Clan is above petty crime and chop shops.

Bebop smiles, shaking his head as Shredder stands in his face.

Bebop walks over and reaches down to take the USB.

BEBOP  
So that's how it is Shredder?  
Okay, I guess this day had to come.  
Stay out of our way and we'll do the same.  
But don't you dare come to my shop with vehicles again, we're done.

Bebop pulls the USB from the computer.

SHREDDER  
Leave the file, I want to view it further.

Bebop turns from the table, pointing at Shredder.

BEBOP  
Fuck you.  
I'm done doing what you ask.

Bebop walks toward the door as a sword blade swings from behind.

His left hand slides across the floor, still holding the USB.

Screaming, Bebop turns to Shredder holding his bleeding stump.

Shredder walks toward him, pointing the sword at his throat; quickly, he kicks out and shatters Bebop's right kneecap.

Bebop yells and collapses to his good knee; staring up at Shredder.

SHREDDER  
The next strike, will be your throat.  
Leave, while you still can.

Bebop stands slowly and limps to the door; turning the corner, he disappears.

Shredder lowers his weapon and walks to the hand on the floor, picking it up, he peels the fingers open.

Holding up the USB, he drops the hand into a garbage can.

INT. SEWER LAIR - DAY  
KITCHEN  
Splinter stands sipping his tea in the kitchen as the turtles all sit around the table, silently eating pizza.

SPLINTER  
Raphael, what is wrong?

Raphael sets his uneaten piece down and pushes his plate away.

RAPHAEL  
I missed the light on my first throw. It's embarrassing.

Raphael sits back and crosses his arms.

Splinter smiles and nods, understanding.

SPLINTER  
You are young my child.  
You experienced your first test in the real world.  
What happened was the cause of adrenaline; over time, your body will become accustomed to it. Do not fret.  
You all did very well. I am proud.  
LEONARDO  
Thank you father.  
Are we going to go out again soon?

Splinter thinks it over; he turns and places his cup in the sink.

SPLINTER  
We shall see, I would like you all to rest and go over our training.  
When we return to the top, we will further expand.  
MICHELANGELO  
I bet that guy will think twice before he tries to grab another purse.  
DONATELLO  
Yeah, if he lives.  
We really tore him up.  
SPLINTER  
That is exactly what I expect Donatello.  
These men above, they are terrible people; they do not hesitate to terrorize, rape, or murder innocent people.  
When I allow you to enter the city without my supervision, you will turn the tides and make them the ones afraid of the night.  
If you hesitate, they will strike first.  
DONATELLO  
Yes father. I understand.  
LIVING ROOM  
April O'Neil enters the home carrying a box under her arm.

APRIL O'NEIL  
Hey guys.

Walking forward, she slows to a stop seeing the looks on their faces.

KITCHEN  
APRIL O'NEIL  
What's wrong?  
SPLINTER  
(smiling)  
Nothing my child.  
They took on their first trial last night; the event is still coursing through their minds.  
They did excellent.  
Perhaps we can watch a movie to calm our nerves.  
This is just a new feeling, it will pass.

Donatello stands from the table, throwing in his last bite of pizza; walking over to April, he holds the box for her.

DONATELLO  
What'ya got here April?  
APRIL O'NEIL  
I did some rounds like you asked.  
Some of the people gave me a few things; research papers, old documents, stuff like that.  
I figured we could look through it and try to find connections.

Donatello smiles and nods, they turn for his room.

DONATELLO  
No movie for me guys; e'll be in my room.  
RAPHAEL  
You two better keep that door cracked.  
No hanky panky.

Donatello gives Raphael the stink eye as he follows April to his room.

Raphael laughs as he grabs his slice of pizza.

MICHELANGELO  
So, in light of our first test. I'm thinking Batman Begins?  
LEONARDO  
Nah, c'mon, Dark Knight.

Michelangelo nods reaching for another piece of pizza; no more is left and he lifts the box showing everyone it's empty.

MICHELANGELO  
(Batman voice)  
Where are they!  
LEONARDO  
(Joker voice)  
It's not about... pizza, It's about... sending a message.

Raphael smiles slightly at the reference; sitting back, he recalls the previous night.

Splinter walks past him, placing his hand his shoulder and gives it a squeeze.

DONATELLO AND MICHELANGELO'S ROOM  
April and Donatello sort many documents around on the floor; each grabbing some to read through.

April glances up over her paper at Donatello.

APRIL O'NEIL  
Are you okay Donnie?

Donatello looks up from his paper at her; he smiles.

DONATELLO  
Yeah, thanks.  
It's a lot different training then actually doing the task.  
Don't get me wrong, the guy deserved it.  
It just feels different now for some reason.

April nods.

APRIL O'NEIL  
Well, you know I'm always here if you need someone to talk to.  
DONATELLO  
Thanks.

As they continue to look over their papers, Donatello smiles behind his document.

INT. PITTSBURGH CONVENTION CENTER - NIGHT  
EVENT SHOWROOM  
Crews are busy setting up stages and booths for the next day's event.

Men roll different styles of equipment down truck ramps, parked directly on the showroom floor.

Others check lighting and other minor details for the show.

GUARD LOCKER ROOM  
THOMAS JONES, 52, convention center guard, closes his locker wearing a Pittsburgh Panther Hockey hat and smiles to his son.  
CASEY JONES, 23, college hockey player, smiles while he tucks his shoulder length hair under his Pittsburgh Penguins hat.  
Together, they walk out of the room.

HALLWAY  
THOMAS JONES  
Did you want any passes for the Expo?  
I can get you some if you wanted to come? They say this'll be the biggest year yet.

Turning, they follow the hallway to the showroom, passing other smaller rooms along the way.

CASEY JONES  
That's okay dad.  
I doubt I'll have any time this weekend with practice anyway.

Thomas nods, opening a door and holding it open for his son.

SHOWROOM  
THOMAS JONES  
How yinz doing this season anyway?  
I'm sorry I haven't been to a game lately, works been nuts.

They walk through the showroom, glancing at all the displays.

CASEY JONES  
It's been good, coach has us dumping more and working on our fore-check.  
I scored a shorty the other night.  
THOMAS JONES  
Damn it, I would have liked to seen that.  
Can't believe my son grew up to be a winger, pfft.  
CASEY JONES  
We can't all be goalie's dad.  
THOMAS JONES  
Awe, you should have seen me Casey.  
Brick wall I tell ya. Goongala!

Thomas imitates blocking hockey shots as they continue through the showroom.

A sudden blast lets out from further down the showroom and people begin to scream.

Thomas grabs Casey and pulls him toward a side door.

A bleeding woman runs from the blast, falling to the ground with a throwing star in the back of her head.

SIDE HALLWAY  
Thomas glances down both ways of the hallway and pulls Casey with him.

Grabbing at a door handle, he opens the door and shuts off the lights; pulling Casey inside.

STORAGE ROOM  
Thomas quietly closes the door and pulls his son to the opposite corner.

Pulling out a metal shelf, he clears the corner and pushes Casey into it.

He grabs the shelf and slides it back in place, blocking Casey from view.

CASEY JONES  
What's going on dad, terrorist?  
THOMAS JONES  
I don't know. I need to go find out.  
Stay here Casey, don't move.

Thomas checks the door window and turns to his son.

THOMAS JONES  
Stay in that corner and lay low.  
I'll keep this light off.  
CASEY JONES  
Stay with me dad, please.  
THOMAS JONES  
I can't Casey, this is my job.  
People need me.  
Now stay put, I'll be right back.

Thomas slips out of the door and closes it behind him as Casey slides to the floor; his heart pounding.

SHOWROOM  
Shredder walks over several dead bodies and stares at the power cores on the lit stage.

Running his hand over the metal, he turns and nods to a group of Foot Soldiers.

SHREDDER  
These four.

They nod and begin to unload the power cores from the stage.

A box truck backs up to them and a Foot Soldier climbs from the driver's seat.

Opening the back, he pulls the ramp out and begins to help carry the power cores.

Shredder walks back to the double doors and enters the hallway.

HALLWAY  
Looking both ways, Shredder pulls out his phone and sends a message.

Glancing up, he sees the truck door being closed; the power cores inside, a Foot Soldier walks up to him.

SHREDDER  
Baxter only needs two of these.  
Go to the pier warehouse and offload two before returning.

The Foot Soldier nods and walks back to the showroom.

Stopping, the Foot Soldier glances at a body and sees it slightly move.

Pulling out a blade, he stabs the body in the back and continues to the truck.

Shredder begins to walk down the hallway, when a voice calls out from behind.

THOMAS JONES  
Freeze! Hands up where I can see them.

Shredder stops in his tracks and raises his gauntlets slowly in the air.

THOMAS JONES  
That's it mister, now keep'em up.

Thomas slowly inches toward Shredder, his gun aimed at center mass.

THOMAS JONES  
You're the Shredder ain't you?  
Holy shit, I've seen pictures of you on the news.

Shredder continues to keep his arms raised, allowing Thomas to advance.

SHREDDER  
You are correct.

THOMAS JONES  
Why yinz in Pittsburgh bud?  
What are you doing?

Shredder waits as Thomas comes forward.

SHREDDER  
I required an item from your Expo.

Thomas stops ten feet behind Shredder, his weapon ready.

THOMAS JONES  
Well, sorry to rain on your parade, but you're coming with me.  
Turn around, slowly.

Shredder begins to turn slowly and faces Thomas; his hands still raised.

SHREDDER  
Here I am.

Thomas begins to speak when a foot soldier grabs his arm from behind and pulls his gun to the side while simultaneously cutting his throat with a small dagger.

Thomas drops his weapon and grasps his throat, slumping against the wall.

He watches Shredder and the Foot Soldier walk away as blood flows through his fingers.

STORAGE ROOM - LATER - night  
Casey Jones listens to the quiet convention center and sighs; pushing on the shelf, he squeezes out and walks to the door.

HALLWAY  
Slowly sticking his head out, Casey glances in both directions and begins to walk down the hallway.

Looking to his left, he sees two dead bodies inside a video conference room; they still sit in their chairs.

Turning a corner, Casey freezes; tears begin to form.

CASEY JONES  
Dad!

Casey runs from the corner and slides to his father's body sitting against a wall.

CASEY JONES  
No, no, no, no. Dad, dad!

Casey shakes his deceased father and wraps his arms around him; crying, he sits with him for a moment.

Looking down, his father is holding a picture of Casey at a young age posing in hockey gear.

Casey wipes his tears and takes the photo. The back of the picture, written in blood; I love you.

Casey breaks down leaning on his father body; resting his head on his knees.

Wiping his eyes, he looks up after hearing a sound; faint screams.

Stuffing the photo in his pocket, he unbuckles his father's body armor and carefully takes it off.

Pulling it over his own head, Casey snugs it down.

Snapping the straps, he crouches and kisses his father on the head as he pulls the police baton from his fathers holster.

Casey looks to his father for a moment longer and snaps the baton open. Turning, he walks away; heading away from the screams.

INT. SEWER LAIR - DAY  
LIVING ROOM  
Splinter, April O'Neil, and the turtles all sit watching the TV rerun footage of the Pittsburgh attack.

As the newscast shows an image of Shredder, Splinter sits forward.

SPLINTER  
He is up to something.  
Satellite power cores? Very odd.

Leonardo turns to him.

LEONARDO  
He's stepping up his game, that's for sure.  
This is the furthest I've ever seen him strike.

Splinter nods, thinking.

SPLINTER  
We must find out what.  
DONATELLO  
Whatever it is, he needs a lot of power.  
Those power cores can keep equipment in space running for years.  
MICHELANGELO  
Dude. He's making Terminators.  
No... Death Star!

Donatello rolls his eyes.

APRIL O'NEIL  
We should keep looking through the files Donnie.  
I'm almost positive I saw something about power cores on one of the papers.

Donatello nods and follows April to his room.

Splinter stands from the couch and paces; he stops after several turns and sighs.

SPLINTER  
I hope you are ready my sons, you travel without me going forward.  
As much as I hate it, we must try and stay ahead of whatever Shredder is planning.

Raphael sits forward, smiling.

RAPHAEL  
What's the plan father?

Splinter thinks a moment, his eyes dart back and forth. Finally, he turns to his sons.

SPLINTER  
Leonardo and Raphael, I want you to travel to Pittsburgh and gain entry to this convention center.

Leonardo's mouth drops open slightly, his eyes look to Raphael; who is smiling wide eyed back.

SPLINTER  
We need to locate Shredders base of operations here in New York.  
Perhaps you can find clues that can help us locate the Foot.  
Remember my sons; Survey, Decide, Respond.  
This will be strictly a recon mission.  
Do not engage for any reasons; if you are discovered, vanish.  
MICHELANGELO  
What should I do?

Splinter turns to him smiling.

SPLINTER  
It's time to utilize that Batman voice.

Michelangelo smiles, nodding.

MICHELANGELO  
Okay, I get it. Yeah... yeah.  
I don't know what that�s means.

Splinters face goes flat.

SPLINTER  
I want you to follow and survey this Purple Dragon gang.  
They seem to be one of the few gangs left besides the Foot Clan.  
Strike at members and interrogate them.  
See if they have any information that can lead you to the Foot Clan.  
MICHELANGELO  
And when you say interrogate?  
SPLINTER  
Yes, who are to make contact and ask questions, carefully.  
Strike fast and hard.

Michelangelo sits back, smiling at a bummed Raphael.

RAPHAEL  
I can't believe I'm actually jealous of you right now Mikey.  
MICHELANGELO  
I can feel it, seeping into my bones.  
It's euphoric honestly.  
SPLINTER  
Everyone rest tonight, get the jitters out.  
Tomorrow is going to be a big day.  
You are ready... you must be.  
DONATELLO AND MICHELANGELO'S ROOM - LATER  
Donatello turns a paper over and reads the rest of the report; sighing, he places it in a pile.

Looking up, he sees April asleep on his bed.

Turning to check the time, he stands and stretches.

Donatello walks over and pulls a blanket over April; turning to his door, he turns off the lamp and walks out.

LIVING ROOM  
Leonardo, Raphael, and Michelangelo all lay around watching a movie in the dark.

Donatello looks up and recognizes  
Tombstone.  
Flopping down on the couch; Donatello starts to watch the movie.

Michelangelo turns to him from the chair wearing a fake mustache and cowboy hat.

MICHELANGELO  
You smell that?

Donatello looks over and instinctively smells the air; gagging, he hops away from the couch.

Michelangelo starts to smile.

DONATELLO  
Dude! Really?  
MICHELANGELO  
((impersonating )Johnny Ringo)  
It smells like someone died.  
INT. SEWER LAIR - DAWN  
LIVING ROOM  
Donatello wakes on the couch and sees Leonardo and Raphael stand with Splinter by the entrance; they are wearing their Battle Bags for their journey.

Splinter hugs each as Donatello jumps up to see them off, unaware of the fake mustache on his face.

DONATELLO  
So you guys are off?  
LEONARDO  
(holding back a smile)  
Yeah, were going to travel to the train yard facility and camp out till dark.  
RAPHAEL  
Hopefully, we'll find out what train we need to hop.  
Then we just bounce around until we make it to Pittsburgh.  
LEONARDO  
Let's hope they have a suitable sewer system as well.

Donatello nods.

DONATELLO  
Good plan.

Leonardo smiles.

LEONARDO  
Thanks Doc.

Donatello hugs both his brothers and watches them leave their home; standing with Splinter, he gets a sudden rush of fear.

DONATELLO  
I don't think I've ever been more than a mile away from them my whole life.

Splinter puts his arm around Donatello.

SPLINTER  
They will be okay cowboy.  
Go get some more rest, it is still early.

Splinter walks to the kitchen and begins warming up some water on an electric pan.

Donatello watches him a moment and walks back the couch, laying down.

SPLINTER  
Donatello.

Donatello raises his head and looks to Splinter over the couch.

SPLINTER  
You have a mustache on your face.

Donatello reaches up and peels a fake mustache from his lip.

DONATELLO  
I thought he called me Doc.  
INT. PITTSBURGH SUBURBAN HOME - DAY  
KITCHEN  
Casey Jones sits at his kitchen table, wearing a wrinkled suit.

His phone continues to ring and vibrate across the table, but he doesn't answer; the ringing stops.

Standing, he walks to the refrigerator and pulls out a bottle of beer and walks out of the room.

LIVING ROOM  
The TV plays a muted report of the Pittsburgh attack on Channel 11 news.

Casey watches as segments play; FBI agents scouting the area, someone�s cell phone footage from inside the attack, and crowds running from the building.

Finally, a blurred image of Shredder inside the convention center is shown.

Reaching down, Casey turns the volume up as two reporters talk.

tv  
REPORTER  
...that the FBI and local New York police have not found this guy yet.  
He has his fingers in almost every aspect of crime pertaining to New York, and yet, he�s still out there.  
Somebody needs to get boots on the ground, and wipe this Foot Clan out.  
LIVING ROOM  
Casey cracks his beer open and throws the cap.

UPSTAIRS BEDROOM  
Casey walks into his father's room, sipping his beer. Carefully, he sits at the edge of bed and looks around.

Leaning forward, he rests his head on his hand. Wiping his face, he glances over and sees his father's body armor laying in a corner.

Standing, he finishes his beer and sets the bottle on a dresser as he crouches down and picks up the armor.

Casey tosses the armor on the bed and pulls off his jacket and dress shirt. Standing in a white tank top, he reaches over and pulls on the body armor.

Standing in the mirror, he looks over himself; turning, he looks to the closet and walks over.

Opening the door, he crouches and pulls a large bag out; unzipping it, he slowly pulls his father's old hockey mask out and looks at it.

UPSTAIRS BEDROOM - LATER - day  
Casey Jones walks in front of the mirror, pulling on a pair of gloves, wearing his father's body armor.

He has a pair of dark green cargo pants on with laced up combat boots. Picking up his father's hockey mask; he pulls it over his head.

Standing back, he inspects himself.

CASEY JONES  
(heroic)  
Stop right there... evil doer.

Casey lowers and shakes his head.

CASEY JONES  
What the hell am I doing?

Looking over to his father's dresser, he spots a picture taken at Planet Hollywood some years back.

His father smiles with his arm around Clint Eastwood.

Casey turns to the mirror; reaching down, he grabs the baton and pulls it from the holster.

Snapping it open, he points the weapon toward the mirror.

CASEY JONES  
((impersonating )Clint Eastwood)  
The names Casey Jones, punk.  
Welcome to pain 101.

Lowering the baton, he smiles behind the mask.

INT. SEWER LAIR - DAY  
DONATELLO AND MICHELANGELO'S ROOM  
Michelangelo cracks open the bedroom door and peers in at Donatello and April O'Neil sorting papers.

MICHELANGELO  
Hey Donnie, can you help me out with something?

Donatello looks up and nods.

Standing he follows Michelangelo across their home to Donatello's workshop.

DONATELLO'S WORKSHOP  
The workshop, once a sewer monitoring room, still has old monitor screens and outdated printers bolted to the ceiling and walls.

Donatello has since moved in various tables and tools to do his projects with.

DONATELLO  
What's up?

Michelangelo turns to Donatello holding a small LED flashlight, he pulls one of his nunchuks from his belt.

MICHELANGELO  
Could you possibly get this flashlight to fit inside one of my handles?  
Y'know, so I could still use both, but as one item?

Donatello grabs the flashlight and inspects it; he reaches and looks at the handle of the nunchuk.

DONATELLO  
It's slim enough, I'd have to hollow out the end and then find a way to keep it set in place.  
Then drill another hole here and install some type of pin for turning it off and on.

Donatello turns to look around for various needed items.

DONATELLO  
Yeah, I think I can get this done.  
It'll be somewhat fragile though, I'd definitely hold this end and use the other for striking.

Michelangelo nods.

MICHELANGELO  
Perhaps, if you could fashion some sort of rudimentary lathe?

Donatello smiles at the  
Galaxy Quest quote.  
DONATELLO  
Yes, a lathe... of course.  
Okay, just leave all this here and I'll try to start on it tonight.  
MICHELANGELO  
Thanks dude.  
Could I take your staff out tonight since I'm leaving his here?

Donatello nods.

DONATELLO  
Of course, it's leaning by the door.  
INT. SHREDDERS DOWNTOWN BUILDING - DUSK  
PORTAL ROOM  
Baxter Stockman tightens a screw on a closed panel and checks the seal around the edges.

Standing back, he sets the screwdriver on a table and inspects the portal.

Nodding, he pulls a fluke meter from a drawer and leans down to some loose connections.

Shredder enters the room and looks over the portal.

SHREDDER  
Do we have a status on the shuttle?  
BAXTER STOCKMAN  
Inside a week.  
Its orbiting Earth, but NASA has the shuttle doing flyovers and doing some observations.  
Something about needing to burn off a certain amount of fuel before attempting to land.

Shredder nods and watches him work.

SHREDDER  
Do these power cores offer what you required?

Baxter stands and looks over the portal.

BAXTER STOCKMAN  
Indeed. I have this one almost integrated.  
I'll start on the next when I'm done.

Shredder walks over to a piece of equipment pointing at the portal; he looks the device over as Baxter joins him.

BAXTER STOCKMAN  
This is the laser that will activate the portal.  
(pointing to a dish)  
We will place the Saturn Glass here and shoot the laser directly through it.  
That activates and opens the portal.  
SHREDDER  
Amazing.  
BAXTER STOCKMAN  
It truly is.  
The first time I saw it work, it shattered everything I knew about science.  
Wait till you see it.  
SHREDDER  
Soon enough, thank you for the update.  
I'll let you return to your work.

Shredder turns and walks out of the room as Baxter returns to the portal.

EXT. BUILDING TOPS - NIGHT  
Michelangelo stands on a buildings edge, overlooking the city; Donatello's bo staff crosses his back.

Scanning the streets, he walks across to the other side and looks around.

Jumping to another closely sitting building, he leans over to inspect another alley.

Sighing, he decides to move locations. In a series of jumps, flips, and climbs; he quickly navigates several blocks north toward an industrial side of the city.

Resting on buildings edge, he looks around, catching his breath.

Two  
MEN, 24 and 26, come out of a bar below, laughing and staggering.  
As they light their cigarettes, one throws his beer bottle and smashes it against a parked car windshield.

EXT. STREET / BAR ENTRANCE - NIGHT  
MAN 1  
Jesus dude. You shattered it.  
MAN 2  
Whatever. They can send me the bill.  
The Purple Dragon accounting department will reimburse them.

They laugh and continue smoking.

EXT. BUILDING TOPS - NIGHT  
Michelangelo watches from his cover.

EXT. STREET / BAR ENTRANCE - NIGHT  
MAN 2  
Okay, let's get back inside.  
I'm digging the blonde behind the counter.  
MAN 1  
I can't. I still need to pick up one more crate and get them to the shop.  
Rocksteady is busting everyone's ass lately.  
EXT. BUILDING TOPS - NIGHT  
Michelangelo watches as one man returns inside the bar and the other walks down the street and climbs into a parked truck; two crates sit in the bed.

As the truck pulls away and drives down the street, Michelangelo jumps over building tops following from above.

INT. SEWER LAIR - NIGHT  
DONATELLO AND MICHELANGELO'S ROOM  
April O'Neil reads a paper and looks up to Donatello.

APRIL O'NEIL  
Okay, listen to this, 'Without the lasting power of the satellite cores, it is my best guess that the field would not have been able to open.  
Even with the massive power, the cores would need to be replaced every day to be recharged.'

April turns to Donatello.

DONATELLO  
'The field would not be able to open.' Wonder what that's about?

April shrugs and sets the paper down.

APRIL O'NEIL  
Okay, I'm adding his name to the list.  
He's definitely involved somehow.  
DONATELLO  
What's that make now?

April finishes writing and counts the names; she looks up to Donatello.

APRIL O'NEIL  
Seven; seven engineers, all ranging in different fields.  
All of them mentioned at least once pertaining to power cores.

Donatello reaches for his laptop and opens it up.

DONATELLO  
Okay, let's do a search on them.  
Read me the names.  
APRIL O'NEIL  
Okay, Donald Zalaz, dead.  
How about Bob McConnell?

Donatello types in the name and reads.

DONATELLO  
Dead.  
APRIL O'NEIL  
Jason Ulak  
DONATELLO  
Dead.  
APRIL O'NEIL  
Christopher Radison  
DONATELLO  
Dead.  
APRIL O'NEIL  
Nicole Lyndenberg  
DONATELLO  
Dead.  
APRIL O'NEIL  
Jordan Perry  
DONATELLO  
Alive!

April looks up excited.

APRIL O'NEIL  
Okay, last one. Aaron Bridle  
DONATELLO  
Dead.

April stands and sits next to Donatello.

She sets the list of names down; all but Jordan Perry's are scratched out.

She watches as Donatello types on his computer.

DONATELLO  
Okay, Professor Jordan Perry.  
Retired, living in... Danbury, Connecticut.  
Awesome, that�s close.  
APRIL O'NEIL  
Road trip.

Donatello looks up at his clock.

DONATELLO  
It's late now.  
Let's get up early and go visit this guy.  
Before he becomes another scratched out name on your list.  
EXT. BUILDING TOPS - NIGHT  
Michelangelo jumps to an edge of a building and crouches low.

EXT. STREET - NIGHT  
The truck is parked out front of an abandoned building, still running. The man gets out and heads into the building.

Moments later, he walks out carrying another matching crate. Walking to the bed of his truck, he lowers the tailgate and slides the crate in with the other two.

Slamming the tailgate closed, he lights a cigarette and pulls out his phone. As he types a message, he walks around.

Resting on the side of the building, he waits for the return message with his back to a narrow walkway between buildings.

The phone vibrates; he reads the message and slips it back into his pocket.

As he inhales the last of his cigarette, he is yanked backwards; disappearing into the dark walkway.

EXT. BUILDING TOP - NIGHT  
The man is thrown to the rooftop and tumbles across the ground. Looking around, the dark building top seems empty.

MAN  
Jesus, what the hell!

Michelangelo is crouched on the opposite edge of the building, only the outline of his body can be seen.

MICHELANGELO  
Are you a Purple Dragon?  
MAN  
Yeah that's right.  
You one of them Foot fucks?  
MICHELANGELO  
No.

Silence is only heard as the wind blows.

MICHELANGELO  
What's in the crates?  
MAN  
None of your business pal.

A throwing star digs deep into the man's hand; he screams out.

MICHELANGELO  
What's in the crates!?  
MAN  
Weapons man!  
Weapons, guns, explosives... that kinda shit.  
MICHELANGELO  
I thought the Purple Dragons stuck mostly to boosting cars?  
MAN  
Yeah, well, Bebop got messed up from that Shredder guy.  
Rocksteady is making a move to lead the Purple Dragons.  
He's started shifting us over to weapon dealings and distribution.

The man pulls the star from his hand and stands.

MAN  
What do you want with me?

Michelangelo jumps from the building edge and lands in front of the man.

Swinging the bo staff, he shatters the man's forearm and uppercuts him; sending him sailing across the roof.

MAN  
Stop, please. What do you want?  
MICHELANGELO  
Where is the Foot Clan located?  
MAN  
You serious? I have no idea.  
Only Bebop dealt with them before.  
Maybe Rocksteady knows, but all us lower guys don't. That's the truth man.

Michelangelo grabs the man and holds him up; face to face. Slowly walking, he holds him over the buildings edge.

MAN  
What the hell are you?

Michelangelo head-butts the man, sending blood flowing from his nose.

Extending the man further out over the edge, he holds him there; the man looks down, panicking.

MAN  
That's all I know, I swear!  
MICHELANGELO  
Where is the main Purple Dragon shop at?  
I want to talk to this Rocksteady.  
MAN  
Oh man. C'mon.

Michelangelo holds the man out with one arm now, making him grab hold of his arm in a panic; his feet barely touch the edge.

MAN  
Okay, okay. It's the old plastic packing plant at Hunts Point.  
Big warehouse. Can't miss it.  
Now c'mon man. Lemme down.

Michelangelo holds the man a moment longer, looking down to the concrete sidewalk; judging the distance.

MICHELANGELO  
There's only one more thing you need to know.

Michelangelo leans close to the man's ear.

MICHELANGELO  
(whispering)  
I... killed... Mufasa.

The man's expression is blank.

MAN  
Huh?

Michelangelo releases his hold on the man; the man screams as he falls, crashing onto the concrete.

Smacking the ground, his leg CRACK and his limbs tangle.

Moaning slightly, he passes out.

EXT. STREET - NIGHT  
Michelangelo uses a throwing star and takes out a street light overlooking the truck.

Jumping in the bed, he cracks opens the crates.

Looking over the weapons and items, he grabs a grenade and pulls the pin; dropping it between the crates.

He jumps away and returns to the building tops.

The truck explodes as Michelangelo climbs over the rooftop and disappears.

INT. PITTSBURGH AMTRAK TUNNEL - DAY  
Leonardo and Raphael walk along the dark tunnel, staying close to the wall.

Quietly, they head west.

Leonardo looks at the map in his football wrist coach as they walk.

RAPHAEL  
How we looking?  
LEONARDO  
Good, the convention center isn't far.  
We need to find a route heading north though.  
If we can make it to the river, we can follow that to the convention center.  
The building sits right along the river.  
RAPHAEL  
Perfect.

Leonardo nods, and they continue walking.

EXT. FARMHOUSE - DAY  
April O'Neil's van pulls up the dirt driveway of a single small farmhouse in Danbury, Connecticut.

INT. APRILS VAN - DAY  
April turns to the rear of her van, watching Donatello look out the window.

APRIL O'NEIL  
This is it.  
DONATELLO  
Peaceful huh?

April looks around, out her windows.

APRIL O'NEIL  
Reminds me of my parent's farmhouse.  
We vacation there occasionally.  
I haven't been there in a long time.

Donatello turns and throws her a small wiretap; he pulls on a pair of headphones.

DONATELLO  
You ready?  
EXT. FARMHOUSE - DAY  
April jumps out of her van and walks toward the house.

EXT. PORCH - DAY  
Jumping up the wooden steps, she knocks on the door.

Seeing movement, she stands back from the door as  
JORDAN PERRY, 76, retired professor and chemical engineer, opens the door.  
Looking around suspiciously, he looks to April.

JORDAN PERRY  
Can I help you?  
APRIL O'NEIL  
Hello sir, I was wondering if I could possibly ask you some questions pertain...  
JORDAN PERRY  
(annoyed)  
About what? Are you a reporter?  
APRIL O'NEIL  
Well, not yet; but I've been looking over details after the death of Donald Zalaz.  
JORDAN PERRY  
No more! I've already asked several times for you people to leave me alone.  
I have said all I'm willing to say about Donald. I hardly knew the man.

Jordan shoos April away and turns for inside.

APRIL O'NEIL  
But sir, if you could just fill me in on...

The door slams shut.

APRIL O'NEIL  
(yelling through the door)  
Sir, Shredder just stole satellite power cores.  
He's most likely behind the murder of several engineers, all with traceable connections to you.  
What is he planning?

April listens for a moment and turns to leave. Walking down the steps, she hears the door open behind her.

Turning, Jordan Perry is looking out to her.

JORDAN PERRY  
Shredder is planning to go into Dimension X.  
Come in... miss?  
APRIL O'NEIL  
April. April O'Neil.

Jordan nods, turning and walking inside; leaving the door open.

April stares a moment, then jumps to the porch; walking into the house.

INT. FARM HOUSE - DAY  
HALLWAY  
April walks down the wooden hallway, following Jordan Perry to his kitchen.

Glancing left, she sees a very organized study; books line the walls.

KITCHEN  
Jordan Perry offers her a chair at the table and sits across from her.

April sits and looks around; a breeze blows window curtains slightly from an open window.

JORDAN PERRY  
So, April, what exactly do you know?

April shrugs.

APRIL O'NEIL  
Pretty much what I said outside.  
Me and my friend have been looking over documents from the deceased engineers and compiled a list.  
Every name on that list is dead, besides you.  
All of you though, had some type of connection to the power cores.  
We just can't figure out what they are for; you said Dimension..?  
JORDAN PERRY  
Dimension X, yes.  
APRIL O'NEIL  
What is it?

Jordan sits back, looking over April; deciding what to say.

JORDAN PERRY  
It was a secretly funded government project that opened a portal into another universe.  
Inside that portal, was an entirely new planet with life.  
We called the place, Dimension X.

April sits back, taking in all the alarming new information.

APRIL O'NEIL  
Ok. So, why would Shredder want to go there?

Jordan chuckles, shaking his head and rubbing the stubble on his chin.

JORDAN PERRY  
Weapons would be my guess.  
APRIL O'NEIL  
Weapons?

Jordan nods, giving her a somber look.

JORDAN PERRY  
We first began the project in the early eighties.  
Many of us were transported to some secret laboratory where we ran diagnostics, project testing, first contact, and other aspects.  
APRIL O'NEIL  
Secret?  
JORDAN PERRY  
That's right. None of us knew its location.  
We were flown to Dover Air Force Base and put in van with no windows.  
We drove for hours until we arrived in some small, windowless building.  
Inside the building, we entered an elevator that took us to a facility that could accommodate many people for months.  
The laboratory with the portal was there.  
We practically lived there.  
APRIL O'NEIL  
You never left?  
JORDAN PERRY  
Oh of course, not many times, but we did occasionally.  
It was the same journey back. Seeing nothing until the doors opened on Dover's airfield.  
Small planes were waiting to take us home.  
APRIL O'NEIL  
Did you ever guess where you were?  
JORDAN PERRY  
(smiling)  
Oh, we had a pool going.  
The majority thought on some mountain range in West Virginia or somewhere alike.  
Me though, I always though somewhere east coast; the smell of the air.  
It's all a guess though, they purposely drove in different directions to throw us off.  
We could have been in California for all we knew.  
APRIL O'NEIL  
Where do the power cores fit in?  
JORDAN PERRY  
They were the only thing strong enough to power the portal.  
We tried several different methods, but the power cores were the only thing that let us have a consistent portal for hours.  
APRIL O'NEIL  
And now Shredder has four of them.  
JORDAN PERRY  
That he does.  
And as I said, I think he's going after the weapons we came in contact with.

Jordan stands from his chair and walks to the hallway.

JORDAN PERRY  
Follow me, I'll show you.  
EXT. RIVER BANK - DUSK  
Leonardo and Raphael watch the Allegheny river flow towards the Pittsburgh point from foliage under a large bridge.

Slowly, a small riverboat floats down current; people inside taking pictures of the city.

Raphael watches the large paddle in the rear slowly turn as he eats his meal.

LEONARDO  
We should get some rest. Might be a long night.  
I can take first watch.  
RAPHAEL  
Good idea. I only need a few hours.  
Lemme know if you need me.

Raphael packs up his food and lays down; turning slightly, he looks up at the large convention center rising above.

INT. FARM HOUSE - DUSK  
STUDY  
April looks closely at three red rock creatures on the television; they slowly walk down a steep hill far away.

In the sky, two giant space ships glide along; one shoots a blue beam far off.

APRIL O'NEIL  
So Shredder wants this technology?

Jordan spins slightly in his chair.

JORDAN PERRY  
That would be my guess.  
Look at it, it's extremely advanced compared to ours.

April glances at the small white weapons on the rock creatures.

JORDAN PERRY  
And the spaceships firepower, it's right out of a sci-fi movie.  
APRIL O'NEIL  
This timestamp on the video, it says nineteen eighty-eight.  
I thought all of this went down in eighty-four?

Jordan smiles, nodding.

JORDAN PERRY  
Good eye.  
After the initial contact in eighty-four, we went back in a few years later.  
APRIL O'NEIL  
What? Why?

Jordan shrugs.

JORDAN PERRY  
Curiosity, stupidity, science? Take your pick.  
When we went back in, that planet was in a full-fledged war.  
We only went in four times before we were shut down indefinitely.  
APRIL O'NEIL  
Something happen?  
JORDAN PERRY  
Oh yes.  
Two soldiers were killed by those rock creatures for starters.  
APRIL O'NEIL  
Damn.  
JORDAN PERRY  
That was, of course, expected as a possibility.  
The next issue was not.

Jordan sits back, deciding on something; turning to his desk, he pulls out a picture.

He glances at it and hands it to April.

Turning it over in her hand, she looks at the black and white picture.

Looking closer, she stares at a large hairy doglike creature. It stands tall next to a group of scientists.

April makes out a young Jordan Perry.

APRIL O'NEIL  
What the hell is that?

Jordan laughs, taking the picture back and looking at it.

JORDAN PERRY  
That, was Professor Rahzar.  
You see, we found a strange material on the planet the second time we started going through.  
A green substance, coming from the ground.  
Rahzar was in charge of studying it.  
APRIL O'NEIL  
It mutated him.

Jordan stares at April, surprised.

JORDAN PERRY  
That's right.  
He believed he came in contact with the substance by accident somehow, but couldn't remember much before or after the mutation.  
He became ill and collapsed one day...  
We watched him change into that creature.  
APRIL O'NEIL  
Bet that freaked some people out.  
JORDAN PERRY  
Very much, the President shut us down.  
APRIL O'NEIL  
What ever happened to Rahzar?  
JORDAN PERRY  
They killed him.  
Thought he would become violent like the lifeforms on the planet, they were scared of him.  
He was my friend.  
APRIL O'NEIL  
That's terrible. I'm sorry.

Jordan waves it off and returns the picture to the drawer.

JORDAN PERRY  
It was a long time ago, I've done my grieving.  
I bet you haven't seen something like that before, huh?

Jordan sits back smiling, then the smile fades as he looks to April.

APRIL O'NEIL  
Well...  
EXT. FARMHOUSE - DUSK  
April slides the side door open on her van and sees a large mass covered by a sheet.

She rolls her eyes and pulls she sheet off of Donatello as Jordan walks forward slightly, staring.

Donatello raises his hand and waves.

DONATELLO  
Hello Professor Perry.

Jordan looks to April, then back to Donatello.

JORDAN PERRY  
(excited)  
Outstanding.  
INT. FARMHOUSE - LATER - NIGHT  
KITCHEN  
Donatello sits at the kitchen table with Jordan and April.

DONATELLO  
So, after all that, Hamato Yoshi was mutated into a large rat type creature and we ended up mutating into this human form.  
Hama... Splinter raised us, as his sons.  
He doesn't remember his mutation much. It seems to trigger a memory gap or something.  
Over the years, he's remembered bits and pieces from that night.  
JORDAN PERRY  
Absolutely amazing.  
Rahzar was convinced he became that doglike creature because he always carried around a stress ball that his dog would use as a chew toy.  
He never got to test his theory though.  
DONATELLO  
It's possible, Splinter does remember a rat climbing on him in the alley.  
JORDAN PERRY  
I wonder where Shredder came across this mutagen?  
I was under the impression it was destroyed like the Saturn Glass.  
They tossed all remaining mutagen into a burn unit and vaporized it.  
DONATELLO  
What can you tell us about the Saturn Glass?

Jordan shrugs.

JORDAN PERRY  
Not much. It's mined from the rings of Saturn.  
They discovered it had the ability to form a sort of black hole, without the gravitational pull.  
APRIL O'NEIL  
The portal?  
JORDAN PERRY  
That's right.  
It was luck really that they activated it when they were trying to cut off a piece with the ships mining laser.  
But it was all destroyed.  
DONATELLO  
Why would they destroy it?  
JORDAN PERRY  
They didn't mean to.  
Once the project was abandoned, they decided to store the remaining Saturn Glass in Washington.  
They dumped the rocks into a cleaning solution for scrubbing before going into storage.  
The rocks dissolved the moment they hit the water.

Donatello sits back thinking.

DONATELLO  
So where do we go from here?

Jordan shakes his head slowly and hears a faint sound from the kitchen window; standing, he walks over to the window.

JORDAN PERRY  
(looking out window)  
I'm not sure, but you better figure it out soon.  
Some old colleagues of mine have informed me NASA has a shipment of Saturn Glass on its way back to Earth as we speak.  
APRIL O'NEIL  
Oh man, I bet Shredder knows that to.

Jordan turns around and leans on the counter.

JORDAN PERRY  
I would bet on it.  
And with all the news I've been following, Shredder nearly has a portal built himself.  
I've recognized certain components taken over the years in the news reports.  
He might just be waiting on the Saturn Glass by now.

Donatello stands from the table.

DONATELLO  
Well, we need to get to work April.  
Thank you for the information Professor. You've really helped us out.

Jordan waves his hand.

JORDAN PERRY  
It's the least I could do.  
I hope you will be able to sort this all out.

Jordan smiles, then snaps his fingers.

JORDAN PERRY  
Before you go, I have some things for you.

Jordan Perry leads them from the kitchen to his study.

STUDY  
Jordan ejects the videotape as he walks by and opens a closet; he reaches to the top and pulls out a box.

Turning, he grabs the ejected VHS and gives the box to Donatello.

Donatello holds the box as Jordan pulls off the lid labeled 'Top Secret' and places the VHS inside.

Reaching in, he pulls out an eight inch, dark metal rounded tube; one end has a seal, where it could open with two flaps.

JORDAN PERRY  
I took this from the lab when we were shut down for the last time.  
Stole it really.  
As proof I was part of something bigger than this world.  
I've held onto it all this time.

Donatello looks at the dark tube, inscribed into the metal; 'Inside every black hole... a new expanding universe.'

DONATELLO  
Martin Rees.

Jordan smile and nods.

APRIL O'NEIL  
What's inside?  
JORDAN PERRY  
I do not know.  
It has a code lock installed; after three failed attempts, it locks forever.  
I've tried twice.  
DONATELLO  
Couldn't I just cut it in half?

Jordan Perry shrugs smiling.

JORDAN PERRY  
I have tried, it's made from the metal found on the moon; incredibly strong.  
DONATELLO  
This is Lunium?  
Yeah, you're never going to cut this open.  
JORDAN PERRY  
It destroyed six of my saw blades. Perhaps you could be more successful.  
See here?

Jordan points to faint scratches, then he points to the keypad with two red lights.

JORDAN PERRY  
One more failed attempt and the third light will illuminate.  
Locked forever.

Donatello looks to Jordan grimly.

EXT. FARMHOUSE - NIGHT  
Jordan Perry walks April and Donatello to their van.

Climbing inside, Donatello slides the door closed after shaking hands.

April starts the van as Jordan walks up to her window.

INT. APRILS VAN - NIGHT  
Leaning on the window, Jordan peers in.

JORDAN PERRY  
Do be careful you two.  
If Shredder is going into Dimension X, he might come out more powerful than ever before.  
DONATELLO  
Not if we can stop him first.

Jordan nods and steps away from the van.

APRIL O'NEIL  
Thank you for everything Professor.  
EXT. FARMHOUSE - night  
April reverses the van and turns around in the driveway.

Pulling straight, they drive down the driveway and turn onto the road.

EXT. TREELINE - night  
A Foot Bot crouches high in the tree limbs, watching the van drive away.

INT. APRILS VAN - MOVING - NIGHT  
April sighs and sits back, driving down the road.

APRIL O'NEIL  
You get all that?

Donatello smiles as he looks through the box.

EXT. BUILDING TOPS - NIGHT  
Leonardo and Raphael crouch on the Pittsburgh building top looking down at the convention center.

FBI agents walk around, taking samples and snapping pictures.

LEONARDO  
They seem to be dwindling down.  
RAPHAEL  
Yeah, at least twenty or so have left in the last hour alone.  
They seem to be located on the lower levels the most now.  
Maybe we can check out the top?

Leonardo watches the agents a bit longer and nods.

LEONARDO  
Yeah, that works.  
Let's get across here onto the roof and possibly find a way in up by those air condition units.

Raphael looks to the roof and spots the location.

RAPHAEL  
On you.  
EXT. CONVENTION CENTER ROOF - NIGHT  
Leonardo jumps silently to the roof and rolls to a crouch.

Raphael lands immediately behind him; they both run to the air condition units and look for a way in.

RAPHAEL  
Wonder bar.

Leonardo slides his Battle Bag off and pulls a wonder bar from it; handing it to Raphael.

Raphael works the corner with the tool, popping the rivets.

Handing the tool back, he grabs the loose edge and pulls back the panel, popping the rest of the rivets down the side.

Slipping inside, they head down the shaft.

INT. CONVENTION CENTER - NIGHT  
HVAC DUCTWORK  
They slowly walk down the duct-work, stepping slowly to avoid creaking the thin metal.

RAPHAEL  
Leo...  
Leo.  
LEONARDO  
What?  
RAPHAEL  
((quoting )Die Hard)  
Now I know what a TV dinner feels like.

They both giggle to themselves before moving on.

Rounding a corner, Leonardo halts them at a vent opening.

Peering through, he sees no one. Across the room, another vent is attached to the roof with a vent facing them.

Leo looks one last time and turns.

LEONARDO  
Stay here and keep watch.  
I'm going to go around to the other vent across. We should have a good view from both sides.  
Keep one finger sticking out of the vent if it's clear. No fingers mean stay hidden.  
If you see me wiggle two fingers in the vent, drop down here, take cover, and wait for me.  
RAPHAEL  
If I see trouble once I'm down?  
LEONARDO  
I'll whistle when I'm ready to drop, whistle back if it's clear.  
Good?

Raphael nods and Leonardo starts to walk down the duct-work.

Raphael takes his position at the vent and places one finger out of the slit. He watches for anyone below.

Moments later, he sees a finger stick out from the vent across.

After thirty seconds of them both giving the all clear, Leonardo wiggles two fingers.

Raphael pulls back on the vent and drops below; the vent swings back into place.

SHOWROOM  
Raphael hits the floor and crouches; looking around the large dark room, he jumps behind a table near a wall and keeps watch.

A faint whistle sounds and he returns the whistle. Leonardo lands softly and backs to the table next to Raphael; grinning.

LEONARDO  
This is so cool.  
RAPHAEL  
I know dude.

Using the different showroom objects as cover, they quietly search the area and look for clues.

Hidden under a stage, they wait as an FBI agent walks from across the room and enters a stairwell.

Now, almost completely dark, they cover the rest of the showroom, checking all the FBI marked items.

Meeting up behind a food stand, they crouch behind the counter.

LEONARDO  
Nothing out of the ordinary.  
RAPHAEL  
Yeah, pretty much what we expected.

Leonardo thinks and turns to look over the counter.

LEONARDO  
It's late now, maybe we can check the lower level.

Silently, they make their way to a door and slowly enter the dark stairwell.

STAIRWELL  
Creeping down the steps, they approach a door and peer through the glass.

The lights are out as well on the lower level.

RAPHAEL  
Nobody's home.

Leonardo nods and they enter the room.

LOWER LEVEL CONVENTION CENTER  
Inside, they find the FBI's base of operations for the investigation.

Metal tables are everywhere with items from the attack. Computer stations are set up and bodies lie on the floor, covered in black sheets.

RAPHAEL  
All these people.

Leonardo looks to the bodies and sighs.

LEONARDO  
We'll return the favor when we find Shredder.  
RAPHAEL  
Let's split up to cover more ground.

Leonardo approaches a desk with multiple police body armors laying on them. Beside the armor, six small cameras are sitting; labeled with names.

Turning to a sheet, he begins to read the report.

Raphael looks over the tables at the various items; body parts, burnt items, throwing stars, and other various things sit labeled.

Following the table, he meets back up with Leonardo.

RAPHAEL  
Anything?

Leonardo nods holding a camera.

LEONARDO  
These are the body cameras of the guards on duty the night of the attack.  
They could give us a good understanding of the night and hopefully more clues to find Shredder.  
RAPHAEL  
That's good, let's take them.

Leonardo shakes his head.

LEONARDO  
I don't want to hinder the FBI; they could still stop Shredder as well.

Raphael looks around and finds a USB drive; he holds it up to Leonardo.

RAPHAEL  
Let's copy the files.  
Take them home and watch 'em.

Leonardo smiles.

LEONARDO  
Perfect.

Looking around, he finds a laptop without its screensaver activated.

Plugging in the first camera and USB, he drags the files over to the USB folder.

Raphael is looking over a file as he works.

RAPHAEL  
Leo, how many cameras are there?

Leonardo glances over to the cameras as he works.

LEONARDO  
Six total, won't take long.  
RAPHAEL  
Well, according to this, there were seven guards on duty that night.

Leonardo stands and looks at the report. They turn and inspect the names on the cameras and compare them to the list.

RAPHAEL  
Bingo. Thomas Jones.  
LEONARDO  
Damn it. Good catch Raph.  
We need to find that one.  
RAPHAEL  
I think the FBI would have it here if they had it, lemme go check around.

Leonardo unplugs a camera and inserts another as Raphael looks around.

As Leonardo watches the bar download the files, Raphael walks back over to him.

RAPHAEL  
Here's a list of the guards, including home addresses.

Leonardo looks to the list and turns to a large window. The sky is still dark with rain beginning to pelt the glass.

LEONARDO  
Still dark. Up for it?

Raphael smiles.

RAPHAEL  
Let's finish this up and go pay ol' Tom a visit.  
LEONARDO  
Splinter said recon only.  
RAPHAEL  
Yeah, at the convention center.

Leonardo smiles, shaking his head. He pulls a cord and inserts another camera.

INT. SEWER LAIR - NIGHT  
LIVING ROOM  
Splinter is watching TV and eating sushi as Donatello and April O'Neil walk in the entrance.

Muting the show, he turns to them.

SPLINTER  
How did it go?

Donatello shrugs carrying a box.

DONATELLO  
There's a lot more to this then we thought, that's for sure.

April climbs on the couch and lays down beside Splinter.

APRIL O'NEIL  
Shredder wants weapons from another planet inside another dimension to take over Earth.  
SPLINTER  
Is that all? I was worried.

April smiles and closes her eyes.

DONATELLO  
We'll fill you in father. But we both need some sleep.  
Hard to believe, but my brain needs a rest.  
SPLINTER  
Sounds good, both of you sleep well.

Splinter turns off the TV and lays a blanket over April. He walks to his room and shuts the door.

DONATELLO  
Night April, see ya in the morning.  
APRIL O'NEIL  
Night. Tonight was fun.

Donatello walks to his room and pushes the door open with his foot, he walks inside.

DONATELLO AND MICHELANGELO'S ROOM  
Donatello lays the box on his desk and turns to his bed.

Michelangelo, on the top bunk, is turned on his side, looking at him; his nunchuk lays in front of him.

MICHELANGELO  
I Lion Kinged a Purple Dragon last night.

Donatello tries to process the information.

DONATELLO  
I don't even know what that means.

Michelangelo clicks the flashlight installed in his nunchuk and shines the light at Donatello.

MICHELANGELO  
Thanks for this.  
DONATELLO  
No problem.  
EXT. PITTSBURGH SUBURBAN HOME ROOF - NIGHT  
Leonardo and Raphael crouch in the rain, looking over the small two story house from an adjacent roof.

All lights are off.

LEONARDO  
What'ya think?

Raphael looks over the building.

RAPHAEL  
Second floor window, its cracked.  
LEONARDO  
On you.

Raphael looks over the house and jumps to the roof.

Dropping and grabbing hold of the ledge, he peers inside the window.

Quickly, he slides the window up and lifts himself inside.

INT. PITTSBURGH SUBURBAN HOME - NIGHT  
BEDROOM  
Raphael is crouched behind a bed when Leonardo climbs in. Together, they look over the room.

LEONARDO  
(whispering)  
Let's do a sweep of the whole house and meet back here in two minutes.  
I'll take downstairs. Begin.

Raphael shakes his head at Leonardo.

RAPHAEL  
Easy there Splinter.

Leonardo smiles as they both quietly move from the bed; Raphael looks around his current room as he heads for the hallway, he glances at pictures of an older man and younger kid.

Moving onto another room, he notices the hockey themed decorations.

The last room is mostly empty besides some workout equipment and a computer in the corner.

After peaking in a bathroom, he returns to the bedroom with the open window; Leonardo walks in and nods, Raphael nods back.

LEONARDO  
All clear downstairs, let's find that camera.

Quickly, they begin to systematically search one room at a time; opening drawers, checking under beds, searching closets, and rummaging through shelves; returning everything to its original position.

They meet back in the upstairs bedroom.

BEDROOM - LATER - DAWN  
LEONARDO  
Nothing.  
RAPHAEL  
Maybe the FBI does have it, they just took it somewhere else.

Leonardo nods and turns to the window.

LEONARDO  
Suns coming up soon. We need to get out of here.  
Let's find a safe location and plan from there.  
Might be time to head home.

Raphael nods.

RAPHAEL  
There's a small alley out the back door through the kitchen, if we move quick, we can beat the sun.

Leonardo nods and they head for the downstairs kitchen.

HALLWAY / STAIRS  
Walking down the stairs, they look over a map Leonardo has pulled out.

LEONARDO  
If we head north here, we can possible cut through the zoo and get to the river.  
Should be able to find somewhere to lay low by then.  
RAPHAEL  
We better move quick.  
Looks like there's some woods along the way.  
Might just be able to stay hidden in those.

Leonardo nods as they turn the corner and head for the kitchen door.

KITCHEN  
Looking up, they both slow to a stop.

Casey Jones, wearing his soaking wet costume, walks through the kitchen door as Raphael and Leonardo come to a stop.

Looking up through his mask, he reaches to a golf bag he wears across his back.

Sliding a metal baseball bat out, he closes the door with his other arm.

CASEY JONES  
(masking his voice)  
What do we have here, a couple of lawbreakers?  
Wrong house fellas.

Raphael and Leonardo look to each other and slowly pull their weapons.

Casey looks to the sword and sais.

CASEY JONES  
Come to try and finish me off huh?  
What kinda freaks are you!

Casey bounds forward, swinging his bat in a wide arc.

Leonardo and Raphael both jump back easily and avoid the bat.

Swinging again, the bat bashes the wall and shatters a picture hanging between the kitchen and living room.

LIVING ROOM  
Annoyed, Casey throws the bat down and pulls his police baton; snapping it open.

As Casey swings wildly, Raphael blocks the strikes with his sai; looking to Leonardo, shrugging, looking for advice.

LEONARDO  
Stop, we are not your enemy!

Casey looks over to Leonardo and smiles. He quickly kicks Raphael in the stomach and sends him back into a wall.

Pulling out a golf club, he turns to Leonardo

CASEY JONES  
I see your weapons.  
You're with that Shredder guy.  
I've been practicing to come find you guys.

Pulling up his mask, he looks enraged at Leonardo.

CASEY JONES  
You killed my father!

Casey pulls back the golf club as Leonardo stands defensively.

Suddenly, Raphael comes forward and punches Casey in the jaw hard; knocking him out. Casey collapses to the floor.

RAPHAEL  
Be aware of your environment kid.

Leonardo sighs and puts his sword away.

LEONARDO  
You didn't have to knock him out.  
He wasn't really a threat.

Raphael shrugs as they look down to Casey.

RAPHAEL  
I was getting annoyed.  
Besides, look.

Raphael points down to Casey's armor; Leonardo crouches and pulls the body camera from the vest.

LEONARDO  
Let's tie him up and stay here for the day.  
Go secure any windows and doors and meet me upstairs.

Raphael nods and heads for the kitchen as Leonardo grabs Casey by the armor and lifts him to his shoulder.

INT. SHREDDERS DOWNTOWN BUILDING - DAY  
SHREDDERS OFFICE  
Shredder sits at his desk, looking over reports from various branches of the Foot Clans operations. Checking the numbers, he flips the page.

A Foot Bot knocks once and walks inside, standing in front of his desk; Shredder closes the folder and sits back in his chair.

The Foot Bot pulls off its hood, revealing its robotic head. Reaching up, it presses a small crease on the side of its head and a small USB drive extends out.

Pulling it out, it hands it to Shredder; Shredder grabs the USB drive and inserts it into his computer.

Clicking on a file, he begins to watch footage of April O'Neil's van pulling into a driveway.

Glancing at the Foot Bot, then back the video, Shredder watches the footage zoom in on April as she steps out of her van.

INT. SEWER LAIR - DAY  
DONATELLO AND MICHELANGELO'S ROOM  
Donatello and April O'Neil sit in the center of papers scattered all around; they look over various reports found inside Jordan Perry's box.

DONATELLO  
This one has a complete list of staff and personnel working during the eighty-four trials.  
Scientists, military, guards, cleaning crew, you name it. All here.  
APRIL O'NEIL  
I got, ummm, I don't know.  
Computer code I guess. Just jumbled letters and numbers.  
Like, fifty-three pages.  
Looks like someone faxed The Matrix.

Donatello smiles as he looks into the box for more items.

Moving items around, he pulls out a small key-card with Jordan Perry's name etched into it.

Throwing it to Aprils lap, he pulls out seven VHS tapes, labeled with dates.

April looks over the key-card as Donatello stands and places the tapes on his desk.

DONATELLO  
I'm going to go get a TV.  
I'm hoping these tapes are what I think they are.  
INT. SHREDDERS DOWNTOWN BUILDING - DAY  
SHREDDERS OFFICE  
Shredder watches the video of Donatello explaining Hamato Yoshi and the turtle's mutation; he pauses the video.

Sitting back, he looks up to Baxter Stockman.

SHREDDER  
Hamato Yoshi lives, and has trained these... turtles.  
They are aware of our plan.  
All of this could have been avoided if you didn't say Perry wasn't needed.

Baxter looks to the paused video, then to Shredder.

BAXTER STOCKMAN  
How was I to know?  
I only answered you truthfully.  
Perry wasn't needed; we have a completed Portal.  
SHREDDER  
He was a loose end!  
I never leave loose ends, it was sloppy.

Shredder stands and begins pacing around his office as Baxter leans down and looks at Donatello closely on the screen.

BAXTER STOCKMAN  
That mutagen is amazing.  
Man, I almost touched that stuff once.  
SHREDDER  
It was wasted on Hamato Yoshi!  
To think; what we could have created.

Shredder looks to Baxter and stops pacing. Baxter eyes the ground, glancing up only once quickly; unable to make eye contact.

SHREDDER  
You have more.

Baxter winces and says nothing; he continues to look down.

Shredder quickly walks to the wall and pulls his sword from its scabbard.

Grabbing Baxter, he yanks on his shirt and raises his weapon.

BAXTER STOCKMAN  
One vial!

Shredder releases Baxter and lowers his sword; Baxter sits on the desk, adjusting his glasses.

BAXTER STOCKMAN  
I have one more vial.  
I wanted something to keep; from Dimension X.

Shredder eyes Baxter suspiciously.

SHREDDER  
No more lies Stockman.  
BAXTER STOCKMAN  
No lies. I only had enough to fill two vials.  
I keep it at my apartment, I'll go get it.  
I'm sorry, I didn't know.

Baxter turns and slowly walks from the office; Shredder turns to a Foot Bot.

SHREDDER  
Follow him.  
Make sure he returns, just in case.

The Foot Bot nods and holds up its hand, a hologram of April O'Neil's van projects, slowly rotating.

The image zooms and a projection of her license plate spins slowly.

Shredder nods.

INT. PITTSBURGH SUBURBAN HOME - DAY  
LIVING ROOM  
Casey Jones gives the pizza guy thirty dollars and grabs the pizza.

CASEY JONES  
Keep the change, thanks.

Closing the door, Casey turns and walks to the kitchen.

KITCHEN  
Leonardo and Raphael sit back in their chairs around the table. They look up smiling at the pizza.

CASEY JONES  
Here we go.

Casey sets the pizza down and opens the box. They all reach in and grab a slice and begin to eat.

RAPHAEL  
Not bad actually.

Leonardo nods, taking another bite.

Casey sets his pizza down on his plate and looks to them.

CASEY JONES  
Listen, I've been thinking.  
I want to go with you guys back to New York.  
LEONARDO  
What? Why?  
CASEY JONES  
Shredder, man. I've got my own score to settle.  
It's what I've been planning anyway.  
It's kinda fate you two showing up here, right?  
RAPHAEL  
Look Casey, no offense, but the Foot Clan are no joke; you know that.  
And you giving us that demonstration with your bat, well, you wouldn't compete.

Casey nods, pushing his pizza around on his plate.

CASEY JONES  
I know. Like I said, I've only been doing this a few nights.  
Busted up a couple car jackers, stopped this kid from stealing.  
Nothing like the Foot yet.

Leonardo sighs.

LEONARDO  
We just don't want to be responsible if you get yourself hurt; or killed.

Casey sits back.

CASEY JONES  
I understand.  
But with, or without you guys, I'm headed to New York to find Shredder.

Leonardo and Raphael glace at each other.

CASEY JONES  
I have nothing left here.  
No family.  
I don't even like being in this house, ya'know? Without dad.  
That's why I've been going out all night and just sleeping here.  
It sucks... he took everything.

Raphael sighs and looks at Leonardo.

RAPHAEL  
I could teach him some stuff while we're looking for Shredder.  
Your call Leo.

Casey Jones looks up, smiling.

Leonardo turns to Casey, then back to Raphael; thinking.

INT. SEWER LAIR - DUSK  
KITCHEN  
Michelangelo and Splinter sit at the kitchen table, playing a game of Risk.

Splinter has his forces surrounding Michelangelo's, and sits back smiling as Michelangelo looks over the board.

MICHELANGELO  
This game is bullshi...  
SPLINTER  
Language.

Michelangelo smiles forgivingly, and sets his pieces down; four single soldiers remain.

MICHELANGELO  
Okay, okay. I will place my three soldiers on Peru.  
SPLINTER  
Shocking. That's the only territory you have.

MICHELANGELO  
Oh, how observant you are father.  
Annnd, I'll end my turn there.

Michelangelo sits back.

SPLINTER  
No attack?  
MICHELANGELO  
I'm playing the long game, building up my forces.  
The Peruvians shall rise from the ashes.

Splinter shrugs and places five cannons on territories around Peru. He smiles and picks up the dice.

He rolls once and removes three of Michelangelo's pieces. Rolling again, he removes the last one.

SPLINTER  
I win.

Splinter stands from the table and walks over to the counter to make his tea. Michelangelo stares at the Risk board.

MICHELANGELO  
(under his breath)  
Fuckin' Peru.  
SPLINTER  
What's that?  
MICHELANGELO  
Uh, I said, I gotta poo.

Splinter pauses, giving Michelangelo a disgusted look.

Michelangelo grins and jumps up from the table, walking to his room.

DONATELLO AND MICHELANGELO'S ROOM  
Michelangelo walks into his room and steps around Donatello and April O'Neil.

Reaching his bed, he jumps to the top bunk and watches them.

Donatello sits, watching a silent recording of someone filming a laboratory.

The camera walks around showing people working at desks with aged technology.

Panning, the camera centers on a glowing purple portal for a moment.

As the camera turns again, it films a woman smiling and waving from a desk.

Donatello pauses the film and looks to Michelangelo, smiling.

DONATELLO  
See the portal?

Michelangelo nods as Donatello reaches for his pen and notebook; turning back to the film, he squints at the image.

April sets down her papers and looks over his shoulder.

APRIL O'NEIL  
See something?

Donatello taps the TV with his pen.

DONATELLO  
Yeah, look here; on the wall behind this woman.

April lowers her head and reads the blurry wall placard.

APRIL O'NEIL  
Lab, Sub Level Two

Donatello writes in his notebook.

DONATELLO  
Yup, underground.  
MICHELANGELO  
You two are so cute.

Donatello rolls his eyes as he continues to write.

DONATELLO  
Weren't you playing a game?  
MICHELANGELO  
I lost.  
DONATELLO  
You just started like ten minutes ago.

Michelangelo rolls to his back and looks at his posters on the ceiling.

MICHELANGELO  
Splinter takes no mercy. He's a cold blooded rat.  
I need to get some sleep anyway.  
Hey...

Michelangelo rolls over, facing Donatello.

MICHELANGELO  
You wanna come with me tonight?  
I'm checking out the Purple Dragons main shop.  
Might be fun.

Donatello turns to his work, looking at all the papers.

He looks back to Michelangelo, yawning.

DONATELLO  
Ya'know what, yeah; I could use the break.

April O'Neil turns from the TV.

APRIL O'NEIL  
I can stay here and keep looking over stuff.  
(smiling)  
Unless you need the backup Mikey?  
MICHELANGELO  
Yeah, maybe we could have you go ask some questions and bore them to death.

April balls up a piece of paper and throws it; bouncing it off Michelangelo's head.

INT. CASEY'S TRUCK - MOVING - NIGHT  
HIGHWAY  
Casey Jones leans back in his Dodge Ram. Reaching up to the rear-view mirror, he moves it to view Leonardo and Raphael sitting in the backseat.

CASEY JONES  
You guys okay back there?  
RAPHAEL  
Hell yeah, this beats the train any day.

Casey smiles and continues to drive as Leonardo watches out the window at the passing vehicles.

LEONARDO  
Can we get Burger King?  
I've always wanted to try it.

Casey smiles as he drives past a sign for Harrisburg, Pa.

EXT. building top - NIGHT  
OVERLOOKING PURPLE DRAGON WAREHOUSE  
Donatello and Michelangelo crouch, watching the warehouse to their north; each wear their Battle Bags.

Outside, a man smokes a cigarette as a car pulls up.

Waving, the man smoking reaches for the garage door and lifts it up the rails; the car pulls into the warehouse and the smoking man pulls the door back down, looking around.

Leaning against the wall, he smokes his cigarette.

MICHELANGELO  
There's an office in that upper window, looks like some people moving around.  
We should get closer.

Donatello looks to the window; inside, he sees movement.

Looking around, he inspects the surroundings; the warehouse sits in the center of a large, fenced off, square parking lot.

Bright spot lights illuminate all four sides of the building. Several guards walk around the perimeter; a few dogs also stroll around, sniffing the ground.

DONATELLO  
Getting close will be tricky. Ideas?

Michelangelo looks around for an entry point, unable to locate anything.

Shaking his head, he looks up behind them. Arching his head upwards, he turns back to the warehouse.

MICHELANGELO  
How much rope do you have?

Donatello looks over and shrugs.

DONATELLO  
I don't know, a lot.  
Why?  
MICHELANGELO  
I have a super cool idea.  
Pull the rope out and feed it to me from here.

Suspiciously, Donatello drops his bag and pulls out the end of a black nylon rope attached to a carabiner.

Michelangelo grabs the end and jumps west to the adjacent buildings.

Donatello feeds him line while watching him jump further away.

DONATELLO  
(to himself)  
What are you up to?

Michelangelo continues to pull the rope west then stops and turns north, jumping to buildings along the west side of the parking lot.

Stopping three quarters of the way past the warehouse, he looks around.

Locating a steel beam, and turns and looks toward Donatello.

Nodding, he wraps the nylon rope around the beam and shackles the carabiner onto the rope, pulling it tight.

Donatello watches as Michelangelo jumps back to his position.

MICHELANGELO  
You still have rope left?  
DONATELLO  
Yeah, not much though.  
What are you doing?  
MICHELANGELO  
You'll see.  
It's going to be epic dude.

Michelangelo grabs the rope from Donatello and climbs behind them to the higher portion of the building they are on.

Donatello turns and looks up.

DONATELLO  
Oh, are you kidding me.  
No. No way.

Donatello watches as Michelangelo climbs up a large antenna on the building; smiling.

Donatello jumps up to the antenna with Michelangelo.

EXT. ANTENNA - NIGHT  
DONATELLO  
Mikey. This won't work.  
I can already see what your planning.

Michelangelo ignores him as he checks his height compared to the warehouse; nodding, he slips the rope through a beam of the antenna and begins pulling it toward him.

The slack laying over the buildings begins to pull toward him, tightening.

As the rope continues to tighten, they both cringe as the middle section slams into a corner of the parking lot fence and slowly bounces upward.

DONATELLO  
This is ridiculous.

Michelangelo smiles as he fights the rope some, pulling harder and trying to shake the rope up the fence corner.

MICHELANGELO  
You know you're going to try it.

As the rope reaches the top of the fence corner, it finally rolls over the edge and snaps straight.

Michelangelo begins to pull as much slack out as possible.

DONATELLO  
It's going to slack down when you try this, you know that right?  
MICHELANGELO  
(through teeth)  
Well how about you stop critiquing me, and help out.

Donatello sighs and grabs the rope with Michelangelo; together they pull as hard as possible.

When the rope gives them no more pull, they both grab hold tightly and drop from the antenna, yanking the rope down as tight as their combined body weight can pull it.

Donatello reaches for the remaining loose rope and wraps it around another beam several times and clips the carabiner to the rope.

Exhausted, they release the rope and inspect their work; pulled tight, the black nylon rope stretches from the top of the antenna, down, over the parking lot and warehouse, to the other beam where Michelangelo tied off to.

DONATELLO  
I would have taken out a few lights and snuck in personally.

Michelangelo smiles, smacking his shoulder.

MICHELANGELO  
Where's the fun in that?  
I'll go first.  
DONATELLO  
That was never up for debate.

Michelangelo grabs one of his nunchuks and places it around the rope, letting the rope glide under the chain portion; he pulls on it, testing its strength.

MICHELANGELO  
((quoting The )Other Guys)  
Aim for the bushes?

Donatello smiles.

DONATELLO  
We tell Splinter nothing of this.

Michelangelo snickers and pushes himself off the antenna; sliding down and quickly building up speed.

As he crosses the fence and parking lot, he begins to plan his drop; approaching the warehouse, he releases his grip on one handle and drops down onto the warehouses roof.

Silently, he rolls behind cover near large vents.

Donatello sighs, watching him from the antenna roll into cover.

DONATELLO  
(to himself)  
I'm never gonna hear the end of this.

Looking up, Donatello pulls his bo staff out and slides it over the rope. Hanging from it, he pushes off the antenna.

EXT. WAREHOUSE ROOF - NIGHT  
Michelangelo laughs quietly to himself watching Donatello zip down the rope.

As Donatello lands, he rolls over to Michelangelo.

MICHELANGELO  
Say it.  
DONATELLO  
It worked.  
MICHELANGELO  
Say it like you mean it.  
DONATELLO  
(monotone)  
Oh wise Mikey, your astounding plan has rocked me to the core.  
My mind cannot fathom the intellect it must have taken to fashion such an idea.  
MICHELANGELO  
That'll do.

They both carefully make their way to the edge of the roof. Dropping down to a lower portion, they take cover near the windows of the office.

Inside, Bebop limps around, yelling at another  
MAN, 27. Waving his arms, the turtles see Bebop's missing hand.  
INT. PURPLE DRAGONS OFFICE - night  
BEBOP  
I didn't ask you to do that!  
I needed you with Justin and Duke for the boost.  
MAN  
Rock said he wanted those guns by tonight.  
What am I supposed to do Bop?  
I don't know who I'm taking orders from anymore.  
BEBOP  
I run the Purple Dragons! Not him.  
You take orders from me!  
We almost lost all three cars.

Bebop stops and rubs his forehead, shaking his head.

BEBOP  
Get the hell out of here.

The man turns and leaves the room.

Bebop limps back to his desk and grabs his beer; sitting on his desk, he tries to take a drink and throws the empty bottle.

EXT. OUTSIDE OFFICE WINDOW - NIGHT  
Hearing a loud engine behind, Michelangelo and Donatello turn to see a military Humvee drive into the parking lot and swing into a parking spot.

They take cover as Bebop limps over to the window and peers out to the Humvee.

EXT. PARKING LOT - NIGHT  
The Humvee door opens and a muscular man with military styled blonde hair jumps out.

He wears camouflage pants, combat boots and a tight black shirt; looking around, he walks toward the building.

Looking up, a Purple Dragon  
GUARD, 24, waves and opens the warehouse door for him.  
GUARD  
Hey Rock. How's it going.  
ROCKSTEADY, 34, Army soldier turned criminal, doesn't say a word and walks inside; the guard closes the door and continues on his patrol.  
EXT. OUTSIDE OFFICE WINDOW - NIGHT  
Donatello and Michelangelo watch as Bebop shuffles over to his desk and slides a knife in his pocket.

INT. PURPLE DRAGONS OFFICE  
Rocksteady opens the door and walks in.

ROCKSTEADY  
You dumped those guns?

Bebop turns from his desk.

BEBOP  
We ain't doing the guns, we got cars to pull.  
Do that crap on your own time.

Rocksteady stares at Bebop for a moment and chuckles.

ROCKSTEADY  
Who are you? Little handicapped gimp.  
You couldn't boost a car if you wanted to right now.  
BEBOP  
Watch it Rock...  
ROCKSTEADY  
Nah. I'm done with this.  
You want to pretend the Foot aren't squeezing us into a corner, that's fine.  
But I'm trying to get the Dragons back up a little.  
I found us the work; you're just too proud to admit it's working.

Bebop leans down and sits on his desk.

BEBOP  
I started the Purple Dragons. I make the calls.  
ROCKSTEADY  
Not anymore Bop.  
I'm takin' over man.  
You're bleedin' the Dragons.

Bebop looks up.

Frustrated, he limps over to Rocksteady and gets in his face.

BEBOP  
You think so?!  
This ain't the first time I had to deal with some punk who thought he knew better.

Bebop reaches into his pocket and grabs the knife.

Swinging it hard, he aims for Rocksteady's throat.

Rocksteady grabs the arm; stopping the knife. He stares straight at Bebop.

ROCKSTEADY  
I ain't some punk, Bop.

Twisting the arm, Rocksteady makes Bebop drop the knife. In a quick motion, he drives the heel of his boot into Bebop's bad knee; crumbling him to the floor in pain.

Rocksteady walks around Bebop and sits at the desk.

ROCKSTEADY  
Now get outta my office.  
I got work to do.

Bebop struggles to stand and turns to Rocksteady.

Defeated, he limps out the door.

EXT. OUTSIDE OFFICE WINDOW - NIGHT  
Donatello and Michelangelo turn and climb back to the warehouses upper roof.

EXT. WAREHOUSE ROOF - NIGHT  
They both take cover behind the vents.

MICHELANGELO  
I had my money on Bebop the whole time.  
Did you see Rocksteady grab that knife?  
He didn't even look. Just...  
(imitating the grab)  
Wham!  
DONATELLO  
Yeah. Looks like the Purple Dragons just got into the weapons business.

Turning, they both see Bebop limp out of the warehouse and climb onto a motorcycle; a guard approaches Bebop.

DONATELLO  
We should follow him.  
See if he's planning anything.  
MICHELANGELO  
He better be planning to go get some ice for that broke ass knee.

Donatello laughs as Bebop's motorcycle roars to life; looking up at the rope, he turns to Michelangelo.

DONATELLO  
Let's go. I'm curious to see what his next move is.  
We might be able to grab him and get Shredders location.

Both turtles jump to the rope and begin climbing back toward the antenna.

EXT. ROPE - CLIMBING - NIGHT  
MICHELANGELO  
It's pretty convenient though, isn't it?

Donatello leans over as he climbs to view Michelangelo.

DONATELLO  
What is?  
MICHELANGELO  
This rope being here, so we can climb away.

Donatello rolls his eyes, turning back to climbing.

DONATELLO  
Shut up.  
EXT. BUILDING TOP - NIGHT  
Jumping down from the rope, they turn to see Bebop throwing a cigarette and waving to the guard.

Pulling out, he turns and heads for the exit.

EXT. ROOFTOPS - NIGHT  
Donatello and Michelangelo begin jumping along buildings as they follow Bebop driving on the road below.

Landing in the middle of an open roof, they slide to a stop.

Standing on the building facing them are five Foot Soldiers.

DONATELLO  
Man, I came out tonight to take a break.

The Foot Soldiers begin to fan out around them.

Michelangelo and Donatello pull their weapons and set up defensively.

DONATELLO  
I guess we weren't the only ones keeping an eye on the Purple Dragons.  
MICHELANGELO  
Nope.

Michelangelo springs from the roof and jumps between two Foot Soldiers.

Swinging his weapon, he delivers a solid blow against one's head and doubling back to strike the other in the chest; they barely register the strikes.

Michelangelo jumps back onto the buildings edge.

MICHELANGELO  
They have armor!

Donatello nods as he swings his bo staff around and smashes one in the face. Behind, another Foot Soldier stabs a blade deep into the top of his shoulder and twists.

Yelling out, Donatello kicks the Foot Soldier away and pulls the blade out; throwing it off the roof.

He jumps and joins Michelangelo.

DONATELLO  
My arms going to be useless as soon as the adrenaline stops.  
Go for kills; we need to get out of here.

Michelangelo jumps from the edge and tackles a Foot Soldier to the ground.

Bashing his nunchuks against its face multiple times, he stops mid swing; under the cloth, red robotic eyes stare up at him.

MICHELANGELO  
He was making Terminators!  
I totally called that.  
(turning)  
Donnie! They...

A Foot Bot lunges at Michelangelo with its sword and cuts into his side as he jumps back.

Michelangelo swats the Foot Bot over the head with his weapon and reaches down, putting pressure on the wound.

MICHELANGELO  
Donnie, they're robots!

Donatello swings his bo staff and shatters the leg off of one of the Foot Bots; it falls to the side as Donatello turns to smash another in the face with a direct hit.

Twirling his bo staff, he brings it down and smashes the legless robots head.

DONATELLO  
Look for an off switch!

Raising his bo staff, he blocks multiple swings from a Foot Bots sword; yelling in pain as his shoulder wound sprays blood.

Michelangelo sails in the air and kicks a robot against a wall. Landing on the ground, Michelangelo runs up to the Foot Bot and jumps, spinning.

The Foot Bots head crushes between the wall and Michelangelo's shell.

Quickly inspecting the body, he turns.

MICHELANGELO  
I don't see an off swi...  
DONATELLO  
I was kidding!

Donatello sweeps his bo staff and trips a Foot Bot. Reaching down, he grabs its legs.

DONATELLO  
Mikey, little help.

Michelangelo runs to him and helps him grab the legs.

Together they lift and swing the Foot Bot up; Donatello screams in pain.

They turn and smash it over the buildings edge. The metal body shatters over the short wall.

Turning, one final Foot Bot stands ready, its left hand is missing three fingers.

Donatello holds his bleeding wound, breathing hard.

MICHELANGELO  
Your move Johnny Five.

The Foot Bot jumps backwards in the air, releasing throwing stars toward the turtles at a rapid speed.

Turning, Michelangelo slides in front of Donatello and shields him from the stars; two stars dig into his forearm and one enters his upper thigh.

Through the torn mask, the Foot Bots red eye studies them crouched on the buildings edge; turning, it jumps across to the rooftops and disappears.

MICHELANGELO  
(Terminator voice)  
He'll be back.

Donatello turns Michelangelo around and inspects the throwing stars.

DONATELLO  
Are you okay! Why did you do that?  
MICHELANGELO  
I'm in an alarming amount of pain, if I'm being honest.  
But c'mon, that looked badass right?  
I just... took'em.

Donatello shakes his head and pulls bandage cloth from Michelangelo's bag.

Quickly, he pulls the stars out and wraps the wounds, pulling it tight and tying a knot.

DONATELLO  
My bleeding has slowed for now.  
Let's get out of here.

Donatello turns and picks up the head of a Foot Bot.

MICHELANGELO  
Leave it dude.  
They might have trackers or GPS or something.

Donatello nods and drops the head; together, they jump from the building toward home.

EXT. SHREDDERS DOWNTOWN BUILDING � NIGHT  
Bebop pulls his bike up to the curb and climbs off.

Looking up, he views Shredders building.

BEBOP  
(to himself)  
Can't believe I'm doing this.

Walking up the steps, he pushes the door open and enters the building.

INT. BAXTER STOCKMANS CAR � NIGHT  
Baxter Stockman turns off the ignition to his Mazda 3 and reaches into his pocket; grabbing for a cigarette.

Leaning forward, he looks up to his apartment building as he lights the end.

Sighing, he opens his door and climbs out.

EXT. ROOFTOP - NIGHT  
A Foot Bot crouches on top of the tall building, watching Baxter Stockman walk from his car smoking a cigarette.

When finished, Baxter walks into the front door of his apartment building.

Waiting, the Foot Bot begins to look around the city; glancing over at a side street, it pauses on a yellow van.

Zooming in, it watches as April O'Neil climb from the vehicle; she looks at a notebook and throws it inside the van.

Closing the door, she walks toward Baxter Stockman's apartment.

The Foot Bot jumps down from the edge.

INT. SHREDDERS DOWNTOWN BUILDING � NIGHT  
MEETING ROOM  
Bebop is sitting in a chair rubbing his knee when Shredder walks in.

Walking around the table, Shredder sits down across from Bebop and leans back; waiting.

BEBOP  
Rocksteady took the Dragons from me.  
SHREDDER  
I know.

Bebop laughs and shakes his head.

BEBOP  
Of course you do.  
I couldn't even fight for it, you know, cuz...

Bebop waves his missing hand at Shredder.

SHREDDER  
What do you want?

Bebop sits back, sighing.

BEBOP  
I don't know.  
I just rode, ended up here.

Bebop sits silently for a moment.

BEBOP  
I want my gang back.  
I want Rockste...  
SHREDDER  
Your problems are none of my concern.

Bebop slowly nods, beginning to stand.

SHREDDER  
Unless.

Bebop stops and looks to Shredder; slowly sitting back down.

Shredder drums his fingers on the desk; thinking.

SHREDDER  
I want to show you something.

Shredder reaches down and presses a com button on the desk.

A Foot Bot missing three fingers walks into the room.

BEBOP  
Ya'know.  
For someone named The Foot Clan, you really go for the hands a lot.

Shredder turns to the Foot Bot.

SHREDDER  
Tonight's footage.

The Foot Bot walks forward and holds up its good hand.

An image projects; Donatello and Michelangelo are crouched at a window, watching Bebop and Rocksteady argue.

BEBOP  
Wow, I didn't even see them.  
SHREDDER  
They are the same who attacked your man in the alley.  
Not my men.

Bebop nods slowly leaning close to the image.

BEBOP  
What are they?

Shredder turns to the Foot Bot and nods.

The Foot Bot forwards the footage to the turtles fighting the Foot Bots.

BEBOP  
Turtles?  
SHREDDER  
Yes. Mutated turtles.  
BEBOP  
Mutated ninja turtles.  
Ha, New York, right?  
SHREDDER  
They were following you, I ordered them to be stopped.  
Good thing to, you came directly here.  
BEBOP  
Powerful little suckers huh? He just smashed that one with his shell.

Bebop turns from the footage, barely hearing Shredder.

BEBOP  
Following me you said?  
SHREDDER  
Yes, right to this building.  
BEBOP  
Good thing you stopped them.  
SHREDDER  
Yes, it is.  
That would have been your other hand.

Bebop sits back, rubbing his stump instinctively.

BEBOP  
So you said, unless?  
SHREDDER  
Absorb the Purple Dragons into The Foot Clan, and I will restore you to the top.

Bebop smiles at Shredder, waving his finger at him.

BEBOP  
Only, you'll really be at the top.  
SHREDDER  
Correct.  
But I don't interfere with many branches.  
You can return to your usual business and run the daily operations.  
The Foot Clan will support you with the proper security and resources.  
All I require are weekly reports of your operations and loyalty.  
If I call on you, you will be there.  
No excuses.

Bebop sits back, rubbing his chin, thinking it over.

BEBOP  
I make the calls inside the Purple Dragons?  
SHREDDER  
Yes.  
BEBOP  
We'll continue to be a chop shop?

SHREDDER  
Do you know how to network with the Colombians and Cartel to get cocaine across all fifty states under one organization?  
BEBOP  
What? No.  
SHREDDER  
Then yes, I believe you'll remain a chop shop.

Bebop sits back smiling, shaking his head; thinking.

BEBOP  
I want Rocksteady out.  
I don't want him.  
SHREDDER  
Fine.  
Rocksteady can work under my weapons division.  
But right now, I have plans for each of you.

Bebop looks to Shredder suspiciously.

BEBOP  
What plans?

Shredder turns to the image of the turtles.

SHREDDER  
Tell me, would you like to have some of that power?

Bebop turns and looks to the turtles.

INT. SEWER LAIR - NIGHT  
LIVING ROOM  
Casey Jones is wearing his armor and standing behind the couch as Raphael holds his bat; pretending to swing at his knee.

Leonardo and Splinter sit at the kitchen table, talking.

RAPHAEL  
See, you can't just go all wild with this thing, the Foot are trained.  
You need to strike fast and make it count.  
Go for parts of the body that slow or stop the enemy; knees, wrists, nose, temple...  
(Raphael smiles)  
Jaw.

Casey smiles, rubbing the small bruise on his chin.

RAPHAEL  
Don't just strike randomly, a body can absorb a lot of hits; choose your target.  
Disable the guy first; then you can beat the snot out of 'em.

Casey nods.

RAPHAEL  
What's with the mask?  
CASEY JONES  
It was my dad's.

Raphael leans forward and taps on the plastic.

RAPHAEL  
I guess it could stop some things.  
CASEY JONES  
It stops eighty mile an hour slap shots.

Raphael pulls out a throwing star and holds it up.

Casey sees the sharp tips.

RAPHAEL  
This ain't no hockey puck.

Raphael leans forward and taps the mask with a tip of the star.

Looking behind Casey, Raphael sees Donatello and Michelangelo limp through the entrance.

RAPHAEL  
What the hell is this?

Donatello and Michelangelo walk to the kitchen and sit down; everyone crowds around them.

KITCHEN  
Splinter, jumping from the table, helps them sit as he looks over their wounds.

SPLINTER  
Raphael, first aid kit.  
Leonardo, hot water.

As the two turn to get the items, Splinter inspects Donatello's shoulder wound.

SPLINTER  
Casey, please turn on that electric pan and get sewing needles from Raphael.

Casey nods and turns to the counter.

DONATELLO  
Shredder has robotic Foot Soldiers.

Splinter presses at the deep cut delicately.

SPLINTER  
You are home now.  
Let's get you fixed up.

Splinter uses the warm water to clean the wound as Raphael looks over Michelangelo's injuries.

RAPHAEL  
(worried)  
Jeez Mikey.  
MICHELANGELO  
I'm okay, just stitch them up.  
Donnie has the bad cut.

Raphael looks over as Splinter pours peroxide into Donatello's wound.

Leonardo takes the bottle and throws it to Raphael.

Raphael turns to Michelangelo.

RAPHAEL  
Okay, here we go.  
MICHELANGELO  
Hey man.

Raphael stops and looks up to Michelangelo.

MICHELANGELO  
I'm not feeling so hot right now, but are we all aware there's a dude dressed in hockey equipment down here?

Raphael smiles then looks down, unwrapping the first throwing star wound; he begins to clean it.

INT. SEWER LAIR - LATER - NIGHT  
LIVING ROOM  
Donatello and Michelangelo sit on the couch, their wounds cleaned and wrapped.

Everyone sits around them, listening to their story.

DONATELLO  
Obviously, we lost Bebop after that.

Michelangelo shifts in his seat, holding the bandage on his side.

LEONARDO  
That's okay.  
At least you got out of there.

Donatello nods and leans back, he looks up suddenly.

DONATELLO  
Where's April?  
RAPHAEL  
She wasn't here when we got back.  
SPLINTER  
She said she was going to look at something and return.  
That was hours ago, now that I think of it.

Donatello slowly climbs from the couch and walks to his room.

DONATELLO AND MICHELANGELO'S ROOM  
Poking his head inside the room, Donatello looks over the scattered papers and items; sighing, he returns to the living room.

LIVING ROOM  
DONATELLO  
She might have gone home,probably wanted a shower with hot water.

Sitting back on the couch, he carefully leans back.

LEONARDO  
We have body cameras from the guards on duty from the Pittsburgh attack.  
Maybe we can look through those?  
DONATELLO  
Sure.  
SPLINTER  
How about we all get rest first.  
It's been a long night, a couple hours of rest can do us all good.

They all nod and begin to stand.

Michelangelo turns and looks over Casey.

MICHELANGELO  
You can have the couch, Gretzky.  
CASEY JONES  
I'm more of a Lemieux guy.  
MICHELANGELO  
You ever been to the Civic Arena?  
CASEY JONES  
They tore it down, but I went a few times when I was young.  
MICHELANGELO  
They filmed Sudden Death there.

CASEY JONES  
(nodding)  
Yeah. Van Damme. Classic.

Michelangelo smiles turning to Raphael.

MICHELANGELO  
I like this guy.  
DONATELLO AND MICHELANGELO'S ROOM  
Donatello walks into his room and looks around.

Slowly, he walks toward his bed.

Stopping at his desk, he looks over and picks up a piece of paper; the list of active personnel from eighty-four.

April has notes scribbled on the sheet.

One name has a circle around it with a question mark; Baxter Stockman.

Setting the paper down, Donatello climbs into his bed and closes his eyes.

INT. SHREDDERS DOWNTOWN BUILDING - DAY  
SHREDDERS OFFICE  
Baxter Stockman walks into the office and sets his last vial of mutagen on the desk.

Sliding into the seat, he looks up as Shredder picks up the vial and looks at it.

SHREDDER  
You had a visitor last night.  
BAXTER STOCKMAN  
Huh?

Shredder turns to the Foot Bot; the robot walks forward and projects an image of April O'Neil walking into his building.

BAXTER STOCKMAN  
She never made it to my apartment.  
SHREDDER  
I'm aware, we have her at the pier warehouse.  
I believe the turtles are on to you.  
They did not follow you here though, I made sure of it.  
BAXTER STOCKMAN  
What's the plan?

Shredder sits back in his seat.

SHREDDER  
Stay here for now, I want to keep your apartment under surveillance.  
I'm sure the turtles will be looking for her.

Shredder slides the vial to Baxter.

SHREDDER  
I need a proper way to distribute the mutagen.  
Thoughts?

Baxter sits back, thinking.

BAXTER STOCKMAN  
I can rig up a simple dispenser.  
Would only take an hour or so.  
SHREDDER  
Do it.

Baxter stands from the table and grabs the vial; he walks out of the office.

INT. SEWER LAIR - DAY  
DONATELLO AND MICHELANGELO'S ROOM  
Donatello is watching the footage from Thomas Jones body camera.

The video shows Shredder with his arms raised, back facing Thomas Jones holding his gun out.

Donatello pauses the video and turns carefully in his chair.

DONATELLO  
You don't need to watch this Casey.

Casey Jones is across the room, leaning on the wall.

CASEY JONES  
I've already seen it.

Donatello nods and turns back to the video; rewinding the footage and pressing play.

The video shows Thomas Jones slowly creeping up to a corner; carefully, he peers around the corner and sees Shredder turn to walk away.

He aims his gun.

THOMAS JONES  
(in video)  
Freeze, hands up where I can see them!

Donatello furrows his brow; he pauses the video, rewinds and presses play.

Reaching, he turns the volume up; as Thomas Jones reaches the corner, someone talking can be heard.

Donatello leans close; he rewinds the footage again.

DONATELLO  
You hear that?

Turning the volume up to max, he leans close and presses play.

As Thomas Jones creeps up to the corner; Shredders voice is heard.

SHREDDER  
(voice in video)  
Baxter only needs two of these.  
Go to the pier warehouse and offload two before returning.

Donatello pauses the video and jumps from his seat, looking around.

Rummaging through papers, he holds up the list of personnel from eighty-four.

Donatello looks at the name April circled; Baxter Stockman.

DONATELLO  
Oh shit.  
INT. FOOT CLAN PIER WAREHOUSE - DAY  
SPARE ROOM  
April O'Neil sits in the corner of a small room, two Foot Bots stand at the door, staring at her.

She leans back and watches them.

APRIL O'NEIL  
Don't you guys ever need to go take a leak?

One Foot Bot steps forward and crouches to her level; it raises a hand and pulls off its mask.

Aprils eyes widen at the robotic head; its eyes glow red.

The Foot Bot pulls the mask back on and returns to its position by the door.

INT. SEWER PIPE - DUSK  
STORM DRAIN OPENING  
Donatello paces back and forth. Stopping, he glances out a storm drain and watches the sun set.

LEONARDO  
She'll be okay Donnie.

Donatello continues to pace as Michelangelo flexes his wrapped arm, inspecting his bandages.

RAPHAEL  
We need cell phones... or something for communication.  
Could really help out moving forward.

Donatello nods as he paces.

Looking to the storm drain again, he watches the final sun light fade behind a building; he looks up to Leonardo.

EXT. ALLEY - NIGHT  
The turtles burst from a sewer lid.

Jumping down the alley; they climb into Casey Jones truck.

The truck peels out, turning down the road.

EXT. BUILDING TOP - LATER - NIGHT  
Flipping onto the roof, the turtles take cover on the edge of the building; they scan the large apartment building across.

Leonardo looks to his football wrist coach at the buildings layout.

LEONARDO  
Sixteenth floor. South Corner.

Donatello locates the balcony to Baxter Stockman's apartment.

DONATELLO  
How do we get to the balcony?  
We can't make this jump.  
MICHELANGELO  
How much...  
DONATELLO  
If you say rope right now, I'm throwing you off this building.

Michelangelo closes his mouth as Leonardo studies the building.

LEONARDO  
Fastest way would be to drop from balcony to balcony from the top.  
Ten drops to Baxter's.  
DONATELLO  
My shoulder couldn't handle that.  
Can't be me.

Leonardo turns.

LEONARDO  
Mikey, me and you will go.  
Donnie will stay here and recon.  
Raph, I want you opposite side of Baxter's building pulling recon as well.  
RAPHAEL  
I should go in with you, Mikey's arm is sti...

LEONARDO  
No.  
I want you outside in case of an ambush.  
You're one hundred percent.  
RAPHAEL  
Yeah, but Donnie isn't...  
LEONARDO  
Donnie can't do the balcony drops with his shoulder.  
He has no choice but to stay on recon.  
Do you want to find April or argue about this?

Raphael squeezes his fists.

RAPHAEL  
Fine. Let's go.

Donatello stays on the rooftop as the others all jump down from the edge.

Glancing over, he sees Aprils van parked on a side street.

DONATELLO  
(to himself)  
We're coming April.  
EXT. BAXTERS APARTMENT ROOFTOP - NIGHT  
Leonardo and Michelangelo look over the edge of the building. The first balcony sits below them.

LEONARDO  
Ten drops.

Michelangelo nods and climbs over the edge.

Dropping, he catches hold of the edge of the balcony and drops again, counting to himself.

EXT. BAXTERS BALCONY - NIGHT  
Leonardo drops to Baxter's balcony and climbs up to Michelangelo peering into the door.

LEONARDO  
Anything?  
MICHELANGELO  
Clear.

Reaching up, Leonardo slides the door open.

INT. BAXTER STOCKMANS APARTMENT - night  
LIVING ROOM  
As the two walk inside, inspecting the room, a phone begins to vibrate.

They turn and see Aprils phone buzzing on a table.

MICHELANGELO  
They know were here.  
This is literally from every horror movie... ever.

Leonardo picks up the phone and holds it to his ear.

SHREDDER  
(on phone)  
Now Hamato Yoshi will know what it feels like, to lose a loved one.  
EXT. BAXTERS BALCONY - NIGHT  
Leonardo runs out on the balcony and looks across to Donatello; unable to spot him.

LEONARDO  
It's too dark. I can't see him.  
MICHELANGELO  
My gun scope!

Michelangelo spins and Leonardo opens his Battle Bag.

Dropping Aprils phone inside, he grabs hold of the rifle scope and pulls it up to his eye.

Leonardo releases his held breath when he finally sees Donatello's head sticking up from the buildings edge through the green night vision lens.

Movement catches his attention.

Trying to make out the fuzzy view, Leonardo finally sees ten or more Foot Soldiers silently moving in on Donatello.

Leonardo lowers the scope and turns to Michelangelo.

LEONARDO  
Climb!

Leonardo jumps to the edge and vanishes to the upper balcony.

Michelangelo grabs his nunchuk and finds the flashlight switch.

Quickly, he flicks his light multiple times in the direction of Donatello.

Jumping, he follows Leonardo.

EXT. BUILDING TOP - NIGHT  
Donatello sees the lights flash from the dark balcony.

Realizing it was from Michelangelo, he turns.

The Foot Soldier swings his sword down, just missing Donatello; jumping to the side.

EXT. OPPOSITE BUILDING TOP - NIGHT  
Raphael crouches on the buildings edge.

He has no view of Donatello or Baxter's balcony.

RAPHAEL  
C'mon. This is why we need radios.

From behind, he is suddenly forced upward and thrown from the building.

Falling, he flails around and tries to reach for the building.

As his fingers touch the brick, he slams down onto a fire escape.

Staggering to his feet, Raphael looks up; three Foot Soldiers stare down from thirty feet above.

As throwing stars begin raining down, he jumps from the landing, making his way to the streets.

EXT. BUILDING TOP - NIGHT  
Leonardo and Michelangelo land on the rooftop and see Donatello wrap his bo staff around a Foot Soldiers head, flip, and twist the head off.

Sparks fly from the opening.

MICHELANGELO  
More robots!  
LEONARDO  
Works for me.

Leonardo jumps in the air and lands behind a Foot Bot; swinging his sword, he chops the leg off above the kneecap.

A scream lets out as the Foot Soldier drops, spraying blood over the roof.

Leonardo looks down at the human Foot Soldier; he turns to Michelangelo surprised.

MICHELANGELO  
It's like Christmas candy, you don't know what you have till you bite into it!

Michelangelo cracks a Foot Soldier over the head, it barely moves.

MICHELANGELO  
Robot!

Leonardo jumps on the Foot Bots back, driving his sword inside; the robot flinches and drops.

Donatello lands beside them, his shoulder bandage is red from blood.

DONATELLO  
More incoming.

Leonardo turns to see another group of Foot Soldiers climbing over the edge.

A throwing star strikes one in the face and he screams, dropping behind the edge.

Raphael lands next to Leonardo.

RAPHAEL  
Look at the fingers, metal or flesh.

The turtles look to the Foot Soldiers; Their cutoff gloves reveal either skin or metal finger tips.

LEONARDO  
Nice catch.

Jumping, the turtles attack the incoming wave.

INT. SHREDDERS DOWNTOWN BUILDING - NIGHT  
SHREDDER OFFICE  
Shredder is looking out his window as Baxter Stockman enters.

BAXTER STOCKMAN  
Here it is.

Baxter holds up a small, gun shaped device; the green vial is inserted on the top.

BAXTER STOCKMAN  
Just pull the trigger and it will shoot a mist of the mutagen at your target.

Shredder takes the device and looks it over.

SHREDDER  
How many uses from the vial?  
BAXTER STOCKMAN  
I'm thinking three or four shots before it empties.  
SHREDDER  
Good.

Shredder looks behind Baxter, two Foot Bots grab Baxter by the arms and hold him.

BAXTER STOCKMAN  
What is this? What are you doing?

Baxter struggles against the Foot Bots, but they hold him in place.

Shredder turns to face the window.

SHREDDER  
You lied to me about the vial Stockman.  
I told you from the very beginning, I expect loyalty.  
Then, you convinced me to spare Jordan Perry and we were discovered by the turtles and the girl.  
I cannot tolerate this.

Baxter fights the Foot Bots, but they hold him firm.

Shredder looks down to the city, watching the many people and vehicles swarm around.

SHREDDER  
I've never liked this city.  
The filth. So many people.  
I miss my home.  
BAXTER STOCKMAN  
But, I've built you your portal!  
Please.  
SHREDDER  
But do you know what bothers me most about New York?

Shredder turns and looks at Baxter for a moment before reaching for a fly swatter on top of a filing cabinet near the window.

He turns back to the window as Baxter looks to the fly swatter.

Shredder stands at the window, silently looking down for a moment.

SHREDDER  
All the annoyances.  
Car alarms, rats, junkies, mosquitoes, gnats, homeless, stink bugs cockroaches, whores...  
Shredder slams the fly swatter down on the windows edge.  
SHREDDER  
Flies.

Turning, Shredder holds up the fly swatter; a small dead fly is stuck to the flat edge.

Shredder walks up to Baxter.

BAXTER STOCKMAN  
Please.  
I'm begging you.  
SHREDDER  
My home was peaceful, and now I'm surrounded by pests.

Shredder smacks Baxter across the face with the fly swatter as he cries out, trying to avoid the strike.

Shredder stares at the whimpering Baxter; the dead fly stuck to his cheek.

Raising his dispenser, Shredder squeezes the trigger and shoots a mist of mutagen straight into Baxter�s screaming face.

Shredder smiles as Baxter fights against the Foot Bots; attempting to wipe the green substance from his face.

SHREDDER  
Cage him.

The Foot Bots turn and drag the Baxter from the room as Shredder looks to the vial; one-third of the mutagen is gone.

EXT. BUILDING TOP - NIGHT  
Raphael jumps back from a sword blade and pounces forward, tackling the Foot Soldier.

Rolling on the building, he swings his sais and stabs the man's chest, blood pools from the wounds.

Jumping back from the body, he lands near Donatello who is struggling to keep his arm up.

DONATELLO  
I can't Raph.  
My arms done.

Raphael looks to the bandage on his shoulder, blood has soaked through and runs down his bicep.

RAPHAEL  
Don't fight.  
Just avoid them.

Raphael runs to a Foot Bot and tackles it from behind, Leonardo drops from the air and stabs his sword through the head.

LEONARDO  
They just keep coming!  
RAPHAEL  
We need to get Donnie outta here.  
He's finished.

Leonardo looks over as Donatello flips back from a Foot Bot, landing on the buildings edge.

LEONARDO  
Donnie!

Donatello looks up as Leonardo throws his sword toward him; Donatello throws his bo staff at Leonardo as he reaches up with his good arm and grabs the sword.

Leonardo grabs the bo staff from the air and twirls it around; smashing a Foot Soldier in the face.

Donatello jumps from the buildings edge, decapitates a Foot Bot, and lands near Michelangelo strangling a Foot Soldier with his nunchuk.

MICHELANGELO  
This is nuts!  
DONATELLO  
Yup.

Raphael punches a Foot Soldier in the face and turns; another Foot Soldier is running at him with his sword lowered.

Suddenly, his face is smashed with a baseball bat.

CASEY JONES  
Goongala!

Casey smashes the Foot Soldiers face again and runs to Raphael.

CASEY JONES  
(breathing heavy)  
Do you know how many stairs I had to climb to get up here?

Raphael whips a throwing star at the Foot Soldiers face trying to stand, he slumps backwards.

RAPHAEL  
((quoting )Die Hard)  
Welcome to the party pal.

Back to back, Casey and Raphael take on more Foot.

Leonardo strikes two Foot Bots on each side of him with his bo staff as Michelangelo falls from the sky; wrapping the head of one with his nunchuk and throwing it against a wall.

Leonardo turns to strike the other Foot Bot and stops; the robot is standing in front of him, slumped over, not moving.

Leonardo turns and sees Donatello is looking at another slumped Foot Bot as Raphael and Casey double team a Foot Soldier.

When the man is knocked out from Casey's baton, Raphael turns and sees the dozen Foot Bots slumped over.

MICHELANGELO  
They ran outta juice.

Raphael turns to see the remaining human Foot Soldiers jump from the building, retreating.

LEONARDO  
Donnie?

Donatello shrugs and inspects another slumped Foot Bot; Pushing on it, the robot falls over.

DONATELLO  
They've been disabled.

Raphael's sai enters the robots head; a short fizzle lets out.

RAPHAEL  
Good, lets finish them off before someone decides to turn them back on.  
INT. SHREDDERS DOWNTOWN BUILDING - NIGHT  
SHREDDER OFFICE  
A Foot Soldier bursts into Shredders office.

FOOT SOLDIER  
Sir, the Foot Bots have been disabled!  
All of them.

Shredder leaps from his seat and peers out into the hallway. Several Foot Bots stand around, slumped over.

SHREDDER  
Find Stockman.

Shredder turns and walks quickly to his desk.

SHREDDER  
(over shoulder)  
And secure the girl!  
INT. FOOT CLAN PIER WAREHOUSE - NIGHT  
SPARE ROOM  
April O'Neil slowly approaches the Foot Bot.

Quickly, she pushes on the robot and jumps back; the slumped robot doesn't respond.

APRIL O'NEIL  
Okay.

She reaches for the door handle and peers out into the warehouse; Foot Clan members and Foot Soldiers are running around, evaluating the slumped Foot Bots.

As two Foot Soldiers begin to walk in her direction, April jumps back into the room and finds a hiding spot; keeping the door slightly opened.

She lays across the floor as silent as possible when the two Foot Soldiers burst into the room.

Looking around they see nothing besides the slumped Foot Bots.

FOOT SOLDIER  
Damn it, she got out.  
We need to find her.

The two Foot Soldiers leave the room as April peers up from her hiding spot.

She walks to the door and looks around; closing the door quietly, she turns to one of the slumped Foot Bots.

Reaching up, she pulls the mask off of its robotic head and inspects the mask. Laying the mask on her shoulder, she turns and begins lifting the shirt from the Foot Bots body.

EXT. ALLEY - NIGHT  
Raphael and Casey Jones throw another destroyed Foot Bot into the back of Aprils Van.

RAPHAEL  
You sure about this?

Donatello walks up, nodding.

DONATELLO  
We need to study them.  
Possibly locate where they came from, April might be there.  
I won't take them home, we can drop them off at the old water tower shed.  
At the very least, I can try and find a weakness if we fight them again.

Raphael nods and climbs in the van, where Michelangelo and Leonardo are sitting.

Casey jumps into the driver�s seat and finds the hidden key.

CASEY JONES  
Someone's gotta tell me where to go.

Donatello closes the back door and walks to the passenger seat.

Climbing in, he picks up a notebook with Baxter Stockman's address written on it; throwing it to the side, he points down the road.

DONATELLO  
Head that way.

Casey drives the van onto the road and turns.

INT. APRILS VAN - MOVING - NIGHT  
Raphael leans over the seat to the front.

RAPHAEL  
Where's your truck?  
CASEY JONES  
I parked it down the road. I'll need to come pick it up eventually.

Raphael nods and sits back down, resting with the others.; looking down, he pulls a throwing star from his thigh.

Michelangelo is holding a Foot Bots robotic head closely.

MICHELANGELO  
(being overly dramatic)  
We need to dump these into molten steel.  
Or these... these will be our future.  
Judgement Day.

Leonardo smiles faintly and looks around, viewing the many wounds from the fight; looking down, he sighs.

Michelangelo waves the head around, whistling  
The Terminator's theme song.  
INT. SHREDDERS DOWNTOWN BUILDING - NIGHT  
SHREDDER OFFICE  
Shredder sits back in his chair, listening to the status report from a Foot Soldier.

FOOT SOLDIER  
The turtles are believed to have gotten away sir.  
After the Foot Bots shutdown, the turtles over powered the few remaining human Foot Soldiers.

Shredder nods, furious.

FOOT SOLDIER  
Stockman was found passed out in the basement, he remains unconscious and we have him in the cage.  
We downloaded the footage from the Foot Bot carrying him away; Baxter yelled a series of random words and the video cuts out, we believe this was the shutdown command.

Shredder smiles to himself, shaking his head.

SHREDDER  
And the girl?  
FOOT SOLDIER  
Gone sir.  
We discovered a Foot Bot missing its clothing.  
We assume she snuck out in disguise during the panic.  
SHREDDER  
Clever girl.

Shredder sits forward and rubs his temples; standing, he walks to his window.

SHREDDER  
Abandon the warehouse.  
Strip it down and bring anything needed to this location.  
If she got away, it won't take the turtles long to show up.

The Foot Soldier nods.

FOOT SOLDIER  
We have begun rounding up all the disabled Foot Bots; they are being stored on level nine for now.  
SHREDDER  
Good.  
Let me know when Stockman wakes.

The Foot Soldier turns and walks out as Shredder closes his eyes; annoyed.

The com on his desk rings and Shredder walks over; pressing the button.

SHREDDER  
Yes?  
VOICE  
(over com)  
Sir, your visitors have arrived.  
SHREDDER  
(sighing)  
Thank you.  
INT. SEWER PIPE - NIGHT  
The turtles and Casey Jones walk toward their home after storing the damaged Foot Bots in a small shed located under the abandoned water tower.

CASEY JONES  
So yinz trained in those woods?

The turtles all nod.

DONATELLO  
Yeah, Splinter took us out there a lot.  
Nobody comes near anymore, since they built the new one.  
MICHELANGELO  
I can climb that tower with my eyes closed.  
RAPHAEL  
We should blindfold Casey and take bets.  
LEONARDO  
All I want to do, is sit down and eat something.  
MICHELANGELO  
I can call Keno and get a pizza on the way?  
(thinking)  
Where is April's phone Leo?  
LEONARDO  
I have no idea.  
Probably in Baxter�s apartment.  
I don't remember what I did with it.  
CASEY JONES  
I have my phone.

Michelangelo turns to Casey excited.

INT. SEWER LAIR - LATER - NIGHT  
KITCHEN  
Splinter is washing his dish in the sink when he hears the turtles come through the entrance.

Turning, he watches them each walk in, displaying many different wounds.

Sighing, he turns to heat water on the electric pan and looks at the large amount of first aid supplies on the table.

INT. SHREDDERS DOWNTOWN BUILDING - NIGHT  
MEETING ROOM  
Shredder walks into the room where Bebop and Rocksteady are seated.

Rocksteady, arms crossed, is clearly here against his wishes.

ROCKSTEADY  
What's this about?  
I don't appreciate being grabbed up by your ninjas.  
I'm trying to get work done.

Shredder takes the seat across from Bebop and Rocksteady.

SHREDDER  
The Purple Dragons are being absorbed into the Foot Clan.

Rocksteady leans back, chuckling.

ROCKSTEADY  
Oh yeah?  
SHREDDER  
Yes. Bebop has agree...  
ROCKSTEADY  
Bebop don't run the Dragons anymore.

Shredder pauses and stares coldly; Rocksteady retracts some.

SHREDDER  
Bebop has agreed to the proposal.  
His request was to be placed back at lead with the chop shop and you to be given a lead position handling my weapon distribution.  
He says you have a knack for it.

Rocksteady looks over to Bebop.

ROCKSTEADY  
Really?

Bebop remains silent, looking at Shredder.

SHREDDER  
I will let him fill you in on the details, but I believe this will be beneficial for all of us.  
ROCKSTEADY  
So I'll have my own crew?  
And we can stick to weapons?  
SHREDDER  
You may recruit anyone you like and build your business up utilizing our resources.  
In exchange for this acceptance, I will gift each of you with a unique power.  
ROCKSTEADY  
Power?  
SHREDDER  
Not of this world.  
It would make you a dominate force while you run your operations.  
ROCKSTEADY  
What the hell are you talking about?

Shredder activates the projector on the table and begins to show Rocksteady the footage of the turtles fighting Foot Bots.

Rocksteady leans forward, wide eyed; watching the video.

INT. SEWER LAIR - NIGHT  
LIVING ROOM  
Splinter walks over to the couch with a tray holding several drinks.

Everyone, wrapped in bandages and stitches, slowly reach for a glass.

SPLINTER  
Anymore bandages, and you'd all be mummy's.

Michelangelo smiles, raising his arms out, mimicking a mummy.

DONATELLO  
And we didn't even find April.  
SPLINTER  
Fear not my son, April is strong.  
Perhaps she was the reason for the Foot Bots being disabled.

Donatello shrugs at the idea as Raphael stands and finishes his drink; setting it down, he walks to the lair entrance.

RAPHAEL  
Hey Leo.  
Can we talk?

Leonardo nods and joins Raphael, together they walk out into the sewer line.

Splinter turns to the remaining group and sighs.

SPLINTER  
Rest.  
INT. SEWER PIPE - night  
Leonardo walks silently with Raphael down the sewer pipe. Finally, Raphael sighs and rest against the wall.

RAPHAEL  
Look.  
(finding the right words)  
You were right about the ambush.  
I'm sorry I questioned you like that.  
LEONARDO  
It's fine Raph.  
We got out of there. That's all that matters.  
RAPHAEL  
Yeah I know.  
But you made a decision and it was a smart one.  
I didn't see it, I had no right.  
Splinter put you in lead.  
I was wrong to question. I was just...

Leonardo puts his hand on Raphael's shoulder.

LEONARDO  
Worried about your brothers.  
I know.

Raphael looks down; tears form.

RAPHAEL  
Seeing Donnie like that, ya'know?  
And after cleaning up Mikey's arm.  
Shredders really messing us up.  
And now April...

Raphael chokes back tears.

LEONARDO  
We will find Shredder, and we will kill him.

Raphael nods quickly; still looking down. After a moment, he sniffs hard and wipes his eyes.

RAPHAEL  
Ugh, I hate this crap.  
Freakin' crying.

Raphael takes a few deep breaths.

LEONARDO  
I love you Raph.

Raphael begins to tear up again and grabs Leonardo; hugging him.

RAPHAEL  
You to bro. Always.  
INT. SEWER LAIR - night  
LIVING ROOM  
Leonardo walks back into the lair, Splinter nods to him from the chair; Leonardo nods back.

CASEY JONES  
Where's Raph?  
LEONARDO  
He went to blow off some steam.

Donatello walks out of his workshop, holding different components; he looks around the lair, trying to locate something.

LEONARDO  
What are you doing?  
DONATELLO  
Making us communicators.

Michelangelo jumps from the couch, looking at the items.

MICHELANGELO  
Oh yeah?  
That's what I'm talking about.  
Turtle Talkies. No, Uh? Shellphones.  
Nah, Repti...  
DONATELLO  
How about just plain old communicators.  
MICHELANGELO  
(snapping fingers)  
Turtle Coms.

Donatello rolls his eyes and walks over to the kitchen table, he grabs a pair of wire cutters near the first aid supplies and walks back toward his workshop.

He mumbles as he passes Michelangelo.

DONATELLO  
(mocking)  
Turtle Coms.  
INT. SHREDDERS DOWNTOWN BUILDING - NIGHT  
LABORATORY  
Shredder watches as Rocksteady climbs into his chair wearing simple shorts and a tee-shirt after his shower.

Bebop, in a similar outfit stands besides Shredder.

BEBOP  
I never said all that stuff about Rock having a knack for weapons.

Shredder looks over to him.

SHREDDER  
I know, I wanted to defuse the situation.  
Making one think he has a purpose usually yields favorable results.  
I don't have time for you two bickering.

Bebop nods and walks to his chair and sits down.

Looking over, he sees a freshly cut piece of flesh sitting inside a dish. Small brown hairs cover the dark flesh.

Rocksteady is also looking at his piece of flesh; grey with many crease lines crisscrossing.

SHREDDER  
The process is simple.  
You will each rub these samples before I apply the mutagen.  
If all works as planned, the mutagen will bond your DNA with these samples.  
BEBOP  
What are these?  
Shredder looks to the skin samples.  
SHREDDER  
Acquired samples from Central Park.

Bebop and Rocksteady smile.

ROCKSTEADY  
(rubbing the skin)  
Let's do this boss.

Bebop turns from Rocksteady and looks at his sample; slowly, he places his fingers on the cold skin and begins to rub it.

Shredder walks up, pulling out his mutagen dispenser; Bebop's eyes widen at the sight of the green substance.

SHREDDER  
Like I said, you won't remember this.  
That is why I recorded our conversation in the meeting room.  
EXT. ROOFTOP - NIGHT  
Raphael sits on the building edge, overlooking the city; he looks down to the many cuts and bandages on his arms.

A sound from behind alerts him and he jumps, pulling his sais.

CASEY JONES  
(hands up)  
Just me, roundhead.

Raphael lowers his weapons and turns to sit.

RAPHAEL  
How'd ya find me?  
CASEY JONES  
Leo told me you come here sometimes.

Casey sits down next to Raphael, together they look at the city.

CASEY JONES  
So how'd I do?

Raphael laughs, thinking back to the fight.

RAPHAEL  
Well, we didn't have to carry you out, so good I guess.

Casey smiles, as he looks down to the streets.

CASEY JONES  
Whoa, who's the babe?

Raphael glances at the street. A woman is walking down the road, turning often to look behind; Raphael's eyes widen.

RAPHAEL  
That babe... is April!

Raphael jumps to his feet and yells down.

RAPHAEL  
(excited)  
April!  
Yo, April!  
EXT. STREET - night  
April stops at the sound of her name.

Looking up, she sees the outline of Raphael waving his arms and dancing on the edge of a building.

Tears form on her eyes as she smiles up at Raphael.

INT. SEWER LAIR - LATER - NIGHT  
DONATELLO'S WORKSHOP  
Donatello is soldering a wire to a computer chip when April leans on the door frame.

Looking up, Donatello slowly stands; dropping the tool.

DONATELLO  
Are you real?  
APRIL O'NEIL  
Yup.

Donatello's shoulders slump, and he looks down; relieved.

DONATELLO  
(tearing up)  
I'm sorry.  
I followed your notes, we went to Baxter's apartment, your van was there, Leo and Mikey looked insi...

April appears in front of him, sliding her arms around him and resting her forehead against his.

APRIL O'NEIL  
I know.

Donatello wraps his arms around her and they stand there quietly for a moment; Donatello feels her breath on his face.

APRIL O'NEIL  
What'cha making?  
DONATELLO  
Turtle Coms.

April leans back from him; looking confused.

APRIL O'NEIL  
What?  
LIVING ROOM - LATER - NIGHT  
Splinter turns off the lamp and turns; frowning.

Walking up to Michelangelo sleeping on the chair, he pulls off the tight Foot Bot mask from Aprils escape.

Michelangelo opens his eyes faintly, coming out of a dream.

SPLINTER  
(quietly)  
Go sleep in your bed.  
This can't be comfortable.

Michelangelo yawns and slowly stands, seeing Casey sleeping on the couch.

DONATELLO AND MICHELANGELO'S ROOM  
Michelangelo enters his room and smiles.

Donatello and April are sleeping below; Donatello's arm is around her.

Climbing to his bed, Michelangelo looks at his posters for a moment and falls asleep.

INT. SHREDDERS DOWNTOWN BUILDING - DAWN  
CAGE ROOM  
Shredder sits on a chair in a dark room, facing a large cage in the center of a large empty room; only a few desks line the wall besides the giant cage.

Shredder stares into the dark corner at someone sitting, whispering to themselves.

Turning, he sees the sun just beginning to rise from the window.

SHREDDER  
The turtles grabbed my dispenser and aimed it at me.  
You heroically jumped in front.  
There was no time to act.

The voice continues to whisper, angrier now.

SHREDDER  
Do you remember our plan for the portal?  
VOICE  
(whispering)  
Portal?  
Portal. Yes. I remember.

Shredder nods slowly.

SHREDDER  
The turtles did something to your Foot Bots, they are all disabled.  
VOICE  
(whispering)  
Can fix.

The figure paces back and forth in the shadows; its large head shakes at random times.

SHREDDER  
If I let you out, can you perform for me?  
Continue our work?  
VOICE  
(whispering)  
Of course! Shredder.  
I am still me.

Shredder stands from the chair.

SHREDDER  
I am happy to hear that.  
Is there anything I can get for you friend?

The figure springs from the dark corner and grabs hold of the cage with four arms. The many twisted, hairy fingers wrap around the bars.  
BAXTER FLY, mutated Baxter Stockman, screams; his large, bug eyes look straight at Shredder.  
BAXTER FLY  
I want the turtles!

Baxter Fly hovers down to the floor, his wings buzzing.

Landing, he scrambles back to the darkness; Shredder watches the disfigured mutant walk around, whispering.

Looking over, he releases the lock and swings the cage door open.

SHREDDER  
Of course.  
I know where we will find them.  
INT. SEWER LAIR - DAY  
DONATELLO AND MICHELANGELO'S ROOM  
April O'Neil slowly wakes up in Donatello's bed and looks around the empty room.

Voices can be heard from the beyond the door; she climbs from the bed and walks out of the room.

KITCHEN  
Leonardo is looking over maps with Splinter on the table. Glancing up, he smiles.

LEONARDO  
Hey April.  
APRIL O'NEIL  
Hey.

Leonardo grabs a photo of a building and holds it up to her.

LEONARDO  
Does this look like the warehouse you were at?

April takes the photo and looks at it while walking to the refrigerator.

APRIL O'NEIL  
Definitely.

She hands the photo back and opens the door; inside she grabs a bottle of water and sliced fruit.

LEONARDO  
Perfect.  
We might have a way in then.  
APRIL O'NEIL  
How's that?  
SPLINTER  
These old maps indicate entry is possible to the basement via an old sewer access hatch.  
LEONARDO  
Hopefully it'll let us slip right in and not be seen from above.  
I'm trying to avoid another ambush.  
APRIL O'NEIL  
They probably still expect you to show up.  
They know I got away by now.  
LEONARDO  
Yeah. That's why we're thinking of laying low for a few days.  
We need to heal anyway.  
SPLINTER  
They will be expecting a retaliation fast.  
Let them be cautious for a few days, and hopefully they will begin to doubt.  
That's when you strike.

April and Leo nod.

APRIL O'NEIL  
Makes sense.  
LEONARDO  
I'm going to take Mikey and survey this sewer hatch.  
If it looks like it's still functioning, that'll be our way in.  
Maybe we can go over things you remember later?  
APRIL O'NEIL  
Absolutely.  
I got out of there pretty fast, but I remember some stuff.

Leonardo nods as April looks around the lair.

APRIL O'NEIL  
Where is everyone?  
SPLINTER  
Michelangelo is around here somewhere, Raphael and Casey went to pick up his truck, and Donatello is at the old water tower.  
EXT. WATER TOWER - LATER - DAY  
Donatello slowly opens his eyes.

Looking to the sky, he lets the sun bathe him as he lays on top of the water tower; enjoying the birds and breeze.

Sitting up, he looks around; the surrounding woods are peaceful and quiet.

He glances to his shoulder; the bandage is clean and tight.

Climbing to the ground, he walks over and enters an old shed that was used for tools and equipment pertaining to the water tower.

INT. SHED - day  
Inside, a Foot Bots head is sitting on a work bench with wires plugged into it.

Donatello checks the power gauge; one hundred percent.

Picking up the head, he flips a switch wired onto the side; another small device on the work bench begins to ping repeatedly.

Donatello flips the switch again and the pinging stops.

DONATELLO  
(to himself)  
Nice.  
APRIL O'NEIL  
(scaring him)  
What is!

Donatello jumps and drops the head, it rolls off the work bench.

APRIL O'NEIL  
Ooh, fumble.

Donatello smiles, shaking his head; he leans over and picks up the head.

DONATELLO  
I was testing the sturdiness of the metal.  
As I thought, quite strong.

April rolls her eyes and rests her chin on his shoulder, looking at the Foot Bots head.

APRIL O'NEIL  
Is this for your  
(jazzing the name)  
Turtle Coms?  
DONATELLO  
Ugh, I can't believe that name is gonna stick.  
Don't tell Mikey I called them that.

April smiles.

DONATELLO  
No, I'm working on something else now.  
C'mon, I'll show ya.

EXT. WOODS - DAY  
April stands in the trees with Donatello; he hands her a small device.

DONATELLO  
Okay, watch this.

Turning with the Foot Bot head, he runs through the trees, disappearing.

April looks around, unable to see him; suddenly, a single ping lets out from the device.

April raises it, studying the small rectangle device; five small holes are centered where the ping came from.

Another ping suddenly. April scans the trees, trying to find Donatello. Two more pings let out, closer together now.

APRIL O'NEIL  
(to herself)  
I get it.

Looking up, she sees Donatello standing in an opening, about a football fields length; he's holding the head toward her. Slowly taking steps, he begins to walk in her direction.

The pings come every three seconds for a while, then two; as Donatello approaches her, the pings are nonstop.

APRIL O'NEIL  
A tracker?  
DONATELLO  
(nodding)  
Proximity detector.  
I found that the robots all run on the same frequency.  
That device is set to ping when it detects it.

April looks at the small device.

APRIL O'NEIL  
Useful.  
DONATELLO  
Yeah.  
And now I can make something to disrupt the frequency.  
We could possibly shut these bots down if they attack us again.  
APRIL O'NEIL  
(mocking)  
The Turtle Scrambler.

Donatello sighs.

Reaching forward, he slides the device from her hand and points with it at her.

DONATELLO  
No.  
INT. SEWER PIPE - LATER - DAY  
SKATEBOARD RAMP  
Raphael is sitting with Michelangelo and Casey Jones when Donatello and April turn the corner from a connecting pipe.

RAPHAEL  
Uh huh.  
And what were you two doing.

Michelangelo is standing on his skateboard, spinning it slowly.

MICHELANGELO  
(singing)  
April and Donnie, sitting in a tr...

Donatello kicks the board out from Michelangelo�s feet as he walks by; Michelangelo crashes to the ground looking up.

Donatello and April smile down to him as they continue walking to the sewer lair.

MICHELANGELO  
((quoting )Step Brothers)  
Eat shit Derek.  
DONATELLO  
(over shoulder)  
The communicators are finished.

Michelangelo stands quickly.

MICHELANGELO  
(yelling down sewer)  
The Turtle Coms!?

Donatello's voice yells out from behind a bend in the sewer.

DONATELLO  
(voice only)  
Communicators!  
MICHELANGELO  
(yelling down sewer)  
You know you like the name!  
SEWER PIPE LAIR ENTRANCE  
Walking home, Donatello and April see Leonardo walk out of the entrance wearing his Battle Bag and carrying another.

LEONARDO  
You guys seen Mikey?  
APRIL O'NEIL  
Yeah, he's at the ramp with Raph and Casey.

Leonardo nods and walks past them toward the skateboard ramp. Donatello turns to him.

DONATELLO  
Hey when you get back, I got some stuff to show you.  
LEONARDO  
Coolbeans dude.  
We shouldn't be gone long.  
LIVING ROOM  
Splinter is sitting on the couch, watching TV, as Donatello and April walk through the entrance.

SPLINTER  
How's the shoulder?  
DONATELLO  
Still hurts.  
SPLINTER  
Bah. Baby.

Splinter turns back to his show, eating sushi.

INT. SEWER PIPE - LATER - DUSK  
FOOT CLAN PIER WAREHOUSE ACCESS HATCH LADDER  
Leonardo and Michelangelo stare up the ladder at the hatch using Michelangelo's flashlight.

MICHELANGELO  
Easy enough.  
LEONARDO  
Yeah, a little too easy.  
It should lead to somewhere in the basement.

Leonardo jumps to the ladder and quietly climbs up.

He inspects the hatch, dragging his finger along each side.

LEONARDO  
(whispering)  
Drill.

Michelangelo crouches and opens Leonardo's Battle Bag, he pulls a small battery powered drill and tosses it to Leonardo.

Grabbing the drill, Leonardo turns and places the bit along a corner of the hatch.

Pulling the trigger, he begins to cut into the metal.

Pushing through to the other side, Leonardo swaps the drill to Michelangelo and grabs the fisheye camera.

Carefully, he inserts the tip and slides it into the drilled hole; the camera cord feeds down to Michelangelo, who is viewing the camera on a small screen.

LEONARDO  
Anything?  
MICHELANGELO  
Looks empty, gimme a three sixty.

Michelangelo watches the screen as Leonardo rotates the camera. Inside the dark basement, two garage doors sit closed with only a few crates and shelves lining the walls of the giant empty room.

MICHELANGELO  
It's clear.  
Angle it so I can check out the hatch.

Leonardo adjusts the camera and points it downward slightly. He begins to slowly turn the camera.

MICHELANGELO  
Stop! It's just a basic padlock dude; right in front of the camera.  
The latch is bolted to the floor and it locks to the hatch.  
LEONARDO  
Breakable?  
MICHELANGELO  
For sure.

Leonardo pulls out a marker and draws an 'X' on the hatch where the lock is located above.

Satisfied, he retrieves the camera and climbs back down to Michelangelo who is packing the camera and drill away.

LEONARDO  
Looks like a good entry.

Michelangelo nods as he straps on his Battle Bag.

LEONARDO  
Okay, lets head back.  
We need to go over the layout of this warehouse.

Together, they turn and head back in the direction they came from.

INT. SEWER LAIR - DUSK  
DONATELLO AND MICHELANGELO'S ROOM  
Donatello sits at his desk; daydreaming.

Looking around at the mess, he decides to clean up some.

Stacking papers and grabbing notebooks, he begins to organize them on his desk.

Reaching down, he picks up several more papers and finds the sealed Lunium metal tube from Jordan Perry laying on the floor.

Forgotten, Donatello leans over and picks it up; reading the inscription again and looking at the two red lights.

His fingers hover over the key entry to input a password, as he thinks; slowly, he pulls them away from the buttons.

Donatello inspects the tube; after shaking it, he bobs the tube, judging its weight. The dark metal glistens.

RAPHAEL  
So, what's in the center of the tootsie pop?

Donatello looks over to Raphael leaning on the door.

DONATELLO  
I don't know.  
I need to guess the correct code or it locks forever.  
Perry couldn't even figure it out.  
But he expects me to.  
RAPHAEL  
Or...  
DONATELLO'S WORKSHOP  
Donatello brings the saw blade down on the tube.

As the teeth begin to touch, the tube shakes wildly.

RAPHAEL  
Hold it!  
DONATELLO  
I'm trying!

Donatello struggles with the bouncing small tube when suddenly, the teeth of the saw blade begin to snap off rapidly; shooting into the walls around them.

Donatello turns off the smoking table saw and looks at the destroyed saw blade.

Raphael stands next to him, smacking him on the back.

RAPHAEL  
Better figure out that code, huh?

Raphael walks out of the workshop as Donatello turns to see his table saw begin to billow darker smoke; a tiny flame appears.

DONATELLO  
Oh, not again.  
INT. SHREDDERS DOWNTOWN BUILDING - NIGHT  
TRAINING ROOM  
Shredder walks into the Foots training room; the room is stylized like a traditional dojo with weapon racks, cardio equipment, weights, and other exercise machines.

BEBOP  
A pig?

Shredder looks over to Bebop, now mutated with a warthog; looking in a mirror.

His purple mane still resembles his human mohawk; his face slopes forward, two pair of tusks curve from his mouth.

SHREDDER  
Would you have preferred a flamingo?

Bebop snorts, his elongated head bounces on his thin frame.

BEBOP  
Hey, I dig it.  
But looking at Rocksteady, I mean, were they fresh outta lions?

Shredder looks over to Rocksteady, the now giant rhinoceros mutant.

He lifts weights, appearing to have all the plates on.

Standing, Rocksteady stretches; his large pointed horn almost reaches the ceiling.

He cracks his neck and walks over, pure muscle; He towers over Bebop and Shredder.

His cupped shaped ears flick back and forth quickly.

ROCKSTEADY  
I don't know about Bebop, but I'm digging it.  
I'm ready take over that weapons division and hit the ground running.  
BEBOP  
Hey, I don't mind, I'm just say�  
SHREDDER  
I am experimenting with the mutations.  
I want to see how certain characteristics transfer over.  
ROCKSTEADY  
Makes sense. See what�s possible.

Rocksteady lowers his head and looks down his nose.

ROCKSTEADY (cont)  
Like this horn.  
SHREDDER  
Exactly.

Shredder turns to Bebop and inspects him.

SHREDDER  
Along with your pair of tusks, you have several traits I'm interested in; the warthog's agility, the thick dense skin for protection, enhanced sense of smell.  
BEBOP  
And this.

Bebop raises his arm.

Where his missing hand was located, two large protrusions stick out; each ending with razor sharp dark hooves; the paw of a warthog.

SHREDDER  
Interesting.  
It's as though the mutation tried to fill in the missing hand with that of a warthog.  
I will further investigate this.  
ROCKSTEADY  
You can cut someone's dick off and mutate them with a horse.  
They'd probably thank you for it.

Shredder stares unamused at Rocksteady as Bebop snorts and snaps his two hooves together.

SHREDDER  
For you Rocksteady, obviously, I wanted to experiment with brute force.  
I find the mutation, successful; you have grown substantially larger in size.

Rocksteady, smiling, reaches up and places both palms on the ceiling with ease.

SHREDDER  
Report to me if you experience improved hearing.  
The Rhinoceros are said to have an impeccable sense of hearing.

Rocksteady nods, walking over to a weapon rack.

BEBOP  
So what's the plan now?  
We go run our branches?  
SHREDDER  
Soon.  
First, I'd like to run a field test.  
BEBOP  
Field test?  
SHREDDER  
I require an item called Saturn Glass, a mineral of sorts.  
It's due to arrive on Earth by shuttle in the coming days.  
Once on land at the Kennedy Space Station, it will be transferred to NASA headquarters by a vehicle convoy to Washington D.C.

Rocksteady grabs hold of a sledgehammer and swings it with ease.

ROCKSTEADY  
I like where this is going.  
SHREDDER  
I want you two to ambush the convoy, kill who you must, and bring me the Saturn Glass.

Bebop and Rocksteady smile at each other.

BEBOP  
Uh, hey we're down boss, but, we've never done this sort of thing before.  
SHREDDER  
As I said, field test; my Foot will be joining you.  
I want to see how your mutations perform.  
I've already been planning this for months, so I only require that you two follow my instructions.  
ROCKSTEADY  
We can do that.  
Me and Bop use to be a pretty good team back in the day.  
SHREDDER  
We can go over details soon, but essentially, we will be taking out a bridge near Adams Landing in South Carolina; trapping the convoy.  
That's where you two come in; I want you to decimate that convoy.

Bebop punches his warthog protrusion into his larger hand.

BEBOP  
Now were talkin'.  
EXT. CITY ROOFTOP - NIGHT  
Casey Jones crouches on the roof, peering down to the streets through his mask.

From the shadows, he watches a vehicle pull up to a man on a corner and lower the window; the drug dealer approaches the window and leans on the door.

After a moment, the dealer pulls an item from his pocket and exchanges it for some money.

As the vehicle pulls away, the drug dealer begins walking down the sidewalk; Casey grips his hockey stick and begins to rise.

RAPHAEL  
Nope.

Casey turns to Raphael.

CASEY JONES  
What'ya mean no? That dudes selling.  
We can bust him up and get that crap off the streets.

Raphael walks forward and looks over the edge with Casey.

RAPHAEL  
How much you think he's carrying?

Casey turns and watches the drug dealer stroll down the road.

CASEY JONES  
No idea.

Raphael shrugs.

RAPHAEL  
Think about it, he doesn't have a bag, only a pair of shorts.  
He can't be holding that much product.  
It's still fairly early into the night.  
What if he runs dry?  
CASEY JONES  
He'd have to go pick up more.  
RAPHAEL  
And?

Casey smiles, understanding.

CASEY JONES  
He could lead us to wherever the main stash is.  
RAPHAEL  
Right?  
Why stop a few bags, when we could secure his whole payload.  
CASEY JONES  
I like it.  
RAPHAEL  
Always survey the situation; don't just rush in, be one step ahead.  
Survey, Decide, Respond.

Turning, Raphael jumps to the next building; in the direction of the drug dealer.

Casey grips his hockey stick and leaps across the gap; joining Raphael.

EXT. CITY ROOFTOP - LATER - NIGHT  
Above, Raphael and Casey watch the drug dealer look around and fumble for his keys.

Quickly, he opens the trunk of a beat up car and leans inside.

EXT. STREETS - NIGHT  
Annoyed, the drug dealer moves boxes around the trunk of his car.

Sliding them over, he opens up a hidden side panel; inside, he pulls out a twisted up trash bag hidden further back.

Placing it on the trunks floor, he opens it and sees many small bags of his product.

Filling his pockets again, he drops his cash inside, twists the trash bag up, and returns it to the side panel.

Leaning over, he begins to move the boxes back in place; hiding the panel.

Suddenly, a loud SMASH of bending metal makes him jump.

Looking around, he sees no one; slowly, he lowers the trunk lid.

Casey Jones stands on top of the vehicle, patting his hockey stick into the palm of his hand; the drug dealer stares up at the masked stranger.

CASEY JONES  
(masking his voice)  
Nice night for a walk.

Frozen, the drug dealer just stares as Casey swings his hockey stick around and delivers a crushing blow to the side of his head.

INT. SEWER LAIR - LATER - NIGHT  
KITCHEN  
Michelangelo is sitting at the kitchen table, looking over his new device; the Turtle Com.

Reaching up, he holds down the PTT button.

INTERCUT - TURTLE COM CONVERSATION  
MICHELANGELO kitchen / DONATELLO bedroom  
MICHELANGELO  
I knew you liked the name.

Donatello smiles as he looks down at his device, inspecting his work.

Made from several walkie talkies he's found over the years; he was able to construct a total of three communicators.

DONATELLO  
How do you like the shell?

Michelangelo turns his device over and rubs his fingers across a fake turtle shell Donatello screwed on.

Fastened inside the shell; the core electronics remain hidden underneath the mic and speaker cover.

MICHELANGELO  
Dude, so good.  
It's a perfect size to, nice grip.  
DONATELLO  
Good, I was worried they were too small.  
Make sure you charge that tonight.  
I should have the holsters done for them today or tomorrow; they attach right to our belts.  
MICHELANGELO  
Roger that good buddy.  
Big Mike, out.  
END INTERCUT  
KITCHEN  
Michelangelo stands and switches off his Turtle Com as he sees Raphael and Casey enter the lair.

LIVING ROOM  
Walking into the living room, Michelangelo holds up the Turtle Com, smiling; he slumps to the couch.

RAPHAEL  
Casey quoted the Terminator tonight before slugging this punk.  
It was awesome.  
MICHELANGELO  
What'd you use? 'Your luggage.'  
No wait, that's Eraser.  
Uh... 'There are two hundred and fifteen bones in the human body. That's one.'  
CASEY JONES  
(smiling)  
Nice night for a walk.  
MICHELANGELO  
Classic Bill Paxton. RIP.  
RAPHAEL  
Yeah, the dude dropped with one hit.  
We trashed his drugs and here...

Raphael reaches down and throws Michelangelo a wad of cash.

RAPHAEL (cont)  
For the pizza fund.

As Michelangelo counts the money, Raphael yawns.

RAPHAEL  
Well, we're gonna get some sleep.  
I'm starting to get bored being cooped up down here.  
MICHELANGELO  
Leos got a basic plan ready for the warehouse.  
Should be soon.

Raphael nods.

RAPHAEL  
Nice.  
We all seem to be in better shape.  
We're ready for it.

Michelangelo pumps a thumbs up as he clicks on the TV.

MICHELANGELO  
A'ight. I'm staying up some.  
Hot Rod is coming on.  
RAPHAEL  
Damn it.  
Now I'm staying up.  
EXT. PURPLE DRAGON WAREHOUSE - DAY  
PARKING LOT  
Two Purple Dragon guards stand outside the warehouse looking to the sky.

Above, they see a black rope stretching across the entire complex; shrugging to each other, they turn at the sound of a vehicle.

Pulling into the parking lot, a white van turns in and pulls up near the door.

The guards tighten their grip on their weapons and walk forward suspiciously.

The back doors on the van open and Bebop steps out; the guards immediately stop and stare.

Bebop pulls out his cigarettes from his vest pocket and lights one; turning, he smiles at the guards.

BEBOP  
Hey, Jerry, Kevin; tell Glen I need a large SUV.  
Blacked out, plenty of cargo space in the back.

One guard steps forward.

GUARD  
Bop?

Bebop blows smoke up into the air and smiles as Rocksteady climbs out; finally able to stand straight again.

ROCKSTEADY  
You guys gonna just stand there, or get us that vehicle?

The two guards look to each other and turn for the warehouse.

INT. SEWER LAIR - DAY  
KITCHEN  
Casey Jones, April O'Neil, Splinter, and the turtles all stand around the kitchen table.

Leonardo leans down, going over the warehouse layout.

LEONARDO  
Okay, after we come out of the sewer hatch, we will be inside this large basement here.

Leonardo points to the image, making sure everyone sees.

APRIL O'NEIL  
That's where I got out. There are two doors leading outside.  
LEONARDO  
Me and Mikey scoped it out, the main room is essentially empty now.  
There's a couple rooms on each side, staircase straight ahead from the hatch.  
Once in the basement, we will do a complete sweep of the level.  
Raph and Mikey, left side up the ladder, me and Donnie will check right.  
CASEY JONES  
What about me?

Leonardo looks to Casey.

LEONARDO  
You'll have one of the Turtle Coms pulling recon street side.  
Don't wear your armor, dress normal; we don't want you to stand out.  
Donnie and Mikey will have the other Coms.  
CASEY JONES  
You got it.  
APRIL O'NEIL  
I'll go with him.  
DONATELLO  
Can't.  
If they're watching the area, you'll probably be identified.  
APRIL O'NEIL  
I'll stay in Casey's truck or something; wear a costume.  
I want to come.  
LEONARDO  
I'm sorry April, not this time. We can't risk it.

April nods, upset; but understands.

LEONARDO  
After we sweep the basement, we'll tackle the next floor, then the next.  
In total, the warehouse has the basement, two floors above, and this attic storeroom here.

Leonardo points to the picture.

RAPHAEL  
Once we start fighting, they'll probably come at us full force.  
MICHELANGELO  
Kill shots on the human Foot?  
SPLINTER  
Absolutely.  
The Foot Clan will show no such mercy.  
LEONARDO  
Take 'em out.  
We push until we find Shredder. He's the target.

Leonardo looks to everyone.

LEONARDO  
Questions?

All stand silent, looking at the buildings layout.

LEONARDO  
Okay, rest up. We strike tonight.  
Feel free to look over these layouts.  
It's pretty much offices on the upper floors.

Everyone walks from the table, trying to find something to do before the fight.

DONATELLO'S WORKSHOP - LATER - DUSK  
Donatello is checking over his equipment when April O'Neil walks in.

APRIL O'NEIL  
This sucks.  
I have to stay here and worry now.

Donatello sets his gear down and spins in his chair toward her.

DONATELLO  
I know.  
But they have been very good at sneaking up on us.  
Casey is pretty much an unknown right now.  
APRIL O'NEIL  
I get it.  
If they see me, they'll probably know you guys are there.

Donatello nods.

APRIL O'NEIL  
You better come back.

Donatello smiles.

DONATELLO  
No promises.

April frowns.

Walking forward she sits on his lap, curling up and laying her head on his shoulder.

Donatello wraps his arms around her.

APRIL O'NEIL  
That's not funny.  
DONATELLO  
I know, sorry.  
APRIL O'NEIL  
Mikey found my phone in his Battle Bag.  
I had like, three hundred messages.

Donatello smiles, breathing in the scent of her hair; totally in love with the girl in front of him.

DONATELLO  
April, I...

April sits back quickly, looking straight at Donatello.

APRIL O'NEIL  
Yeah?

Pausing, Donatello looks at her; pushing a bright red strand of hair behind her ear, he sighs.

DONATELLO  
Do you want to see the frequency disrupter I made?

April faintly smiles; upset.

APRIL O'NEIL  
Sure Donnie.  
LIVING ROOM  
Leonardo looks over his Battle Bag; satisfied with his contents, he pulls the flap over and clips it closed.

SPLINTER  
Ready?  
LEONARDO  
Yes, father.  
SPLINTER  
You have done well Leonardo.  
I am proud of you.

Leonardo smiles up at Splinter.

SPLINTER  
Show no mercy.  
INT. SEWER PIPE - LATER - NIGHT  
FOOT CLAN PIER WAREHOUSE ACCESS HATCH LADDER  
Leonardo looks up the ladder leading to the warehouse; turning, he looks to his brothers; all nod.

Jumping to the ladder, he climbs up and locates the 'X' he marked for the locks location.

Looking down, he nods; Michelangelo throws him the custom tool for breaking the lock.

The thin metal tool easily slides through the crack.

Leonardo rotates the sharp metal hook on the end on the tool over and around the locks metal bars; resting the edged hook on the locks bars.

Leaving the tool hang, he reaches down to retrieve the hammer; holding the shaft of the lock breaker, Leonardo swings the hammer at the base with a welded on square piece of metal. Direct hit.

Leonardo feels the curved hook dig into the lock.

Another two hits and the lock breaker falls freely; having cut through the locks metal bars.

Dropping the tools to Raphael, Leonardo pushes the hatch up and opens it quietly.

INT. FOOT CLAN PIER WAREHOUSE - NIGHT  
BASEMENT STOREROOM  
Inside the dark basement, the turtles climb from the opening and take cover near a wall.

LEONARDO  
(whispering)  
Sweep and clear.

Quickly, the turtles pair up and begin inspecting the basement and adjacent rooms.

EXT. BUILDING ROOFTOP - NIGHT  
Casey Jones shuts the cooler and sits in his camping chair, cracking open a beer.

Turning up volume on the portable radio, he has disguised himself as an average joe enjoying the night; relaxing.

Resting his legs on the edge of the building, he keeps his eye on the warehouse further down, across the street.

INT. FOOT CLAN PIER WAREHOUSE - NIGHT  
BASEMENT STOREROOM  
Raphael walks up to Leonardo standing at the bottom of the steps.

RAPHAEL  
Completely empty dude.  
LEONARDO  
Same for our side.

Michelangelo and Donatello join them at the steps.

RAPHAEL  
Next level?

Leonardo turns and looks up the stairs.

LEONARDO  
It's so quiet.  
I don't get it.  
DONATELLO  
There's a good chance they evacuated.  
They probably knew April would tell us the location.

Leonardo nods.

LEONARDO  
Alright, lets head up.  
INT. SEWER LAIR - NIGHT  
KITCHEN  
April O'Neil sits at the kitchen table holding her phone, typing a message. She leans back and waits for the reply.

Her phone vibrates.

TEXT MESSAGE  
(from Casey Jones)  
Still quiet here.

Setting her phone down, she sighs.

SPLINTER  
You are worried my child.

April looks over to Splinter sitting in the living room.

Standing, she walks from the kitchen.

LIVING ROOM  
Walking over, April sinks into the couch.

APRIL O'NEIL  
Of course.

Splinter nods slowly.

SPLINTER  
I to, am worried.  
But we must have faith in them; they are strong together.

April faintly smiles as they sit in silence for a moment.

SPLINTER  
April.

April looks over to Splinter.

SPLINTER  
He loves you very much.  
INT. FOOT CLAN PIER WAREHOUSE - LATER - NIGHT  
SECOND FLOOR  
Donatello opens a door and looks around; empty.

Sighing, he leaves the room and joins Leonardo and Michelangelo.

MICHELANGELO  
Bro, this place is deserted.  
Nothing on any floor.

Leonardo shake his head and looks around as Raphael walks up.

LEONARDO  
Yeah, looks like you called it Donnie.  
They split.  
RAPHAEL  
What's the move?

Leonardo thinks, sighing.

LEONARDO  
I think it's time we bounce.  
Nothing left here to check.

The turtles nod.

MICHELANGELO  
Shredder definitely knew we'd come.  
He emptied this place.

Nodding, Leonardo looks to the stairs.

LEONARDO  
Yeah.  
Okay, let's get to the hatch, we can head back home and...

A ping suddenly cuts through the air and scares the turtles having been adjusted to the silence.

They all turn to Donatello.

Donatello grabs for his belt and retrieves the small device linked to the Foot Bot frequency; he stares at it.

After another few seconds, another ping lets out.

RAPHAEL  
Round two.

They all pull their weapons and stand together, scanning the dark empty building.

Donatello turns down the volume of his device; pinging repeatedly.

Michelangelo is looking across the room when he sees red eyes glowing down a hallway; they stare at him.

MICHELANGELO  
Contact.

The turtles turn and see the red eyes; they grip their weapons and stand defensively.

The red eyes stare for a moment longer before walking from the shadows.

Looking down, the turtles watch a small robot on two legs slowly walk out; its hinged mouth opens slightly.

MICHELANGELO  
Awe. Look at it.

The MOU-SR robot stops and slightly turns its head, staring at the turtles.

From behind, dozens of red eyes begin to glow from the shadows.

An army of identical small robots walk forward, joining the first robot.

LEONARDO  
Donnie?

Donatello studies the robot, thinking he's seen it before.

DONATELLO  
Same frequency as the Foot robots.  
They aren't here to sell us girl scout cookies.

The leading robot watches them for a moment.

Suddenly, it opens its large hinged mouth and begins running incredibly fast toward them; the remaining robots right behind.

Jumping from the floor, the robot lunges for Leonardo.

Michelangelo's nunchuk smashes the robot to the floor.

MICHELANGELO  
Incoming!

The wave of robot's swarm over the turtles, biting at anything in reach.

EXT. BUILDING ROOFTOP - NIGHT  
Casey sips his beer and pauses, leaning forward, he looks toward the warehouse.

A dark shape attached to the side of the warehouse catches his attention; it hangs there, motionless, near the windows of the second floor.

Focusing on it, Casey watches the object slowly climb up the building and enter into a window on the attic floor.

Reaching for his Turtle Com, he raises it to his mouth.

CASEY JONES  
(into Turtle Com)  
Hey Leo, You there?  
INT. FOOT CLAN PIER WAREHOUSE - NIGHT  
SECOND FLOOR  
Donatello twirls his bo staff and smashes two robots running toward him; turning, he sees several more surrounding Raphael.

Raphael swings his sais, stabbing one robot and missing another jumping to the side.

Swinging again, he impales one to the wall.

Turning, he holds up his sais defensively; three robots stand in front of him.

As they run forward, they suddenly slump, their large heads CLINKING to the floor.

Raphael looks up and sees Donatello holding his frequency disrupter; the small dish aimed at the robots.

DONATELLO  
Any day!

Raphael snaps out of it and looks to the robots, he destroys two quickly and stabs the last as it begins to rise.

RAPHAEL  
Thanks.

Donatello nods as a robot jumps on his back and bites at his neck.

Spinning, Donatello rams into a wall, hurling the robot off.

The robot crashes to the ground as Donatello�s bo staff crushes it.

DONATELLO  
There's so many!

Raphael nods as another robot springs forward and bites his calf. Turning, he pulls back and kicks the robot.

RAPHAEL  
Ouch. My toe!  
FIRST FLOOR  
Leonardo swings his sword at the robots climbing down the steps.

Slicing one in half, he turns as sees fifty or more robots running toward him.

MICHELANGELO  
Leo! In here!

Leonardo turns and sees Michelangelo inside an office, bending the jaws of a robot apart; ripping them off.

Running inside, Leonardo slams the door shut behind him.

FIRST FLOOR OFFICE  
Leonardo catches his breath as Michelangelo turns from the broken robot.

MICHELANGELO  
They're like little metal Shriekers from Tremors two!  
LEONARDO  
Yeah, hundreds of them.

The door shakes suddenly and Michelangelo and Leonardo turn to face it.

At the base, the door is shattered into pieces as the robots chew through the wood.

Michelangelo swings his nunchuk, smashing the first to enter.

MICHELANGELO  
Don't give 'em any food!  
LEONARDO  
We're the only thing on the menu apparently.

The door rips from the hinges as dozens of robots come rushing through the small opening.

Leonardo and Michelangelo begin to destroy the robots one after the other.

SECOND FLOOR  
Donatello and Raphael take turns blasting the robots with the disrupter and destroying them.

As Raphael pulls his sai from the wall, letting the crushed body fall to the ground, they turn and see the floor littered with destroyed robots.

RAPHAEL  
Poor little things never stood a chan...

A robot jumps from the floor, biting onto Raphael's hand.

Waving his arm around in pain, Raphael finally sends the robot crashing out a window; blood trickles from small wounds on his wrist.

RAPHAEL  
((quoting )Happy Gilmore)  
Where were you on that one dipshit?

Donatello shrugs, smiling.

CASEY JONES  
(over Turtle Com)  
Anyone there? C'mon.

Donatello reaches down for his Turtle Com and presses the PTT button.

DONATELLO  
(into Turtle Com)  
Casey? What's up man?  
CASEY JONES  
(over Turtle Com)  
Yo.  
Hey, I think I saw someone climbing into the top floor of the warehouse, east side.  
Might wanna check it out.

Donatello looks around.

DONATELLO  
Me and Raph are on the second floor.  
We haven't seen anyone?  
CASEY JONES  
(over Turtle Com)  
Nah, not the second floor dude.  
Like, above you; in that attic portion Leo showed us.

Raphael and Donatello look to the ceiling.

DONATELLO  
(into Turtle Com)  
Okay thanks, we'll check it out.  
FIRST FLOOR  
Leonardo and Michelangelo continue to fight the robots swarming them.

Dodging a jumping robot, Leonardo turns for the stairs.

LEONARDO  
Mikey, upstairs.

Michelangelo nods, jumping to the steps; smashing robots as he lands.

Together, Leonardo and Michelangelo run up the stairs.

SECOND FLOOR  
Donatello blasts the robots giving chase to Leonardo and Michelangelo with his disrupter as Raphael kicks one with his heel, sending it sailing down the stairs.

DONATELLO  
Casey says we might have company in the attic.

Leonardo looks to his football wrist coach, scanning the layout of the building on the inserted paper.

LEONARDO  
Okay. Let's go.  
The steps are at the end of this hallway, right turn.

The turtles run down the hallway, stepping over scattered robot bodies.

ATTIC STAIRwell  
The turtles quietly walk up the steps, weapons drawn.

Michelangelo, coming last, steps on the top landing and looks back.

At the bottom of the stairs, two MOU-SR robots look up at him.

Slowly, they walk backwards, disappearing around the corner.

MICHELANGELO  
That's not comforting at all.  
RAPHAEL  
Huh?  
MICHELANGELO  
There were robots at the bottom of the steps, they just creeped away all ominous.  
I'm not a fan.  
LEONARDO  
Keep your guard up.  
WAREHOUSE ATTIC  
Slowly, the turtles walk into the large, open attic space; their eyes adjust to the even darker room.

Above, wood beams cross; support for the roof.

Walking forward, a shadow darts across them; Raphael gets knocked to the ground.

RAPHAEL  
What the...  
LEONARDO  
Where'd it go?

The turtles look around the room; looking up, Leonardo pauses.

LEONARDO  
Guys.

Looking up, the turtles see Baxter Fly in the rafters, crouched and staring at them.

His head twitches slightly as he whispers.

DONATELLO  
Look at the lab coat.

The turtles read the name stitched into the torn coat.

DONATELLO  
That's Baxter Stockman.  
Or... it was.  
RAPHAEL  
Shredder used the mutagen.  
MICHELANGELO  
With what, Goro?  
Look at that thing.

Baxter hisses from the rafters and his wings suddenly begin to vibrate.

Shooting down at incredible speed, he swings a knife, slicing Leonardo across the fingers as he fly's past.

Donatello swings his bo staff, but Baxter Fly spins from the strike and returns to the rafters; he holds his four mutated arms up and looks to them.

BAXTER FLY  
You. Turtles. You did this!  
RAPHAEL  
Hate to break it to ya pal, but we didn't do any...  
BAXTER FLY  
Lies!  
Look what you've made meeee!

Baxter Fly springs from the rafters, landing in the middle of the turtles.

His clawed foot kicks Michelangelo away as he swings his knife at Donatello.

Raphael, from behind, swings his sais up and brings them down; suddenly stopped.

Raphael sees the extra set of arms have twisted back, grabbing both of his wrists; they twist upwards and hurl Raphael against the wooden beams.

Leonardo stabs forward, missing as Baxter Fly hovers from the ground; turning, Baxter Fly spits a ball of saliva.

Leonardo turns and feels the liquid splatter on his Battle Bag; some drops spray on his neck and he feels them begin to tingle.

Landing again, Baxter Fly spins, blocks, and slashes at the turtle's assault; utilizing his extra arms, he is able to defend himself from all angles.

Finally, Michelangelo swings his nunchuk and smashes Baxter Fly's hand, sending the knife across the floor.

Baxter Fly hovers from the ground and returns to the rafters, whispering and shaking his wrist.

VOICE  
(from shadows)  
You are skilled.

The turtles look around and see Shredder walk from the shadows further down the room; they grip their weapons tight.

SHREDDER  
Obviously, still novice; but skilled nonetheless.  
Hamato Yoshi must be so proud.  
LEONARDO  
It's over Shredder.  
We've come for you.

Shredder nods slowly.

SHREDDER  
So it seems.  
But, I have also been training my students.  
Foot... join me!

Baxter Fly darts from the rafters and hovers at a breaker box near the steps entrance.

Reaching down, he flicks a switch; dim yellow lights begin to flicker on, one by one, down to Shredders end.

Shredder raises his arms as the light bathes him; dozens of Foot Soldiers stand ready, behind him.

Shredder walks backwards, disappearing behind the wave of Foot Soldiers running toward the turtles.

The turtles spring toward the Foot, colliding with full force.

EXT. BUILDING ROOFTOP - NIGHT  
Casey Jones throws another empty beer bottle to the ground and leans toward the cooler; stopping, he looks at the warehouse.

Light can be seen from the windows on the top floor where he told the turtles to go.

Squinting, Casey can make out shadows moving all around from different windows.

Suddenly, a window shatters and Casey sees a Foot Soldier fly from it.

Casey jumps from the chair and leans on the buildings edge.

CASEY JONES  
Shit.

Looking around, Casey sees another rooftop across from the warehouse with a better view.

Looking to the warehouse again, he decides and turns for the ladder.

INT. WAREHOUSE ATTIC - NIGHT  
Michelangelo smashes a Foot Soldier across the face with his nunchuk as another comes from behind and sinks his sword into his shell; unable to pull it out.

Michelangelo swirls around and punches the man in the jaw and runs toward two more, jumping into the air.

Back to back, Raphael and Donatello block strikes from various weapons.

Raising his bo staff, Donatello is suddenly lifted into the air from Baxter Fly's clawed feet grabbing hold of his weapon.

Baxter Fly soars toward a wall and releases Donatello, slamming him into crates.

Raphael turns and impales a Foot Soldier in the neck as he helps Donatello up.

RAPHAEL  
Up, up, up.

Donatello grabs his bo staff from the ground and continues to fight with Raphael.

Leonardo pulls his sword from a Foot Soldiers chest and spins, Baxter Fly rushes toward him.

Blocking the knife strike, Leonardo ducks as Baxter Fly zips past and turns suddenly, sinking his sharp teeth into his shoulder.

Leonardo yells and jumps away; Baxter Fly lands on the ground and walks toward him.

BAXTER FLY  
I will kill you turtle. All of y...

Baxter Fly suddenly crashes to the floor from a head strike from Michelangelo's nunchuk.

MICHELANGELO  
Shoo Fly.

Baxter Fly misses Michelangelo with a spitball, and jumps to the rafters.

Raphael and Donatello join Michelangelo and Leonardo underneath Baxter Fly.

RAPHAEL  
Mikey, you got a sword in your shell.

Donatello pulls the weapon out and throws it to the floor.

Several more Foot Soldiers run toward the turtles; back to back, the turtles stand ready to defend themselves.

SHREDDER  
(voice only)  
Enough!

Slowly, the remaining Foot Soldiers begin to back away and vanish from the building.

SHREDDER  
Impressive.

The turtles back away from the voice, looking up to Shredder who stands next to Baxter Fly in the rafters.

SHREDDER  
But you have a long way to go!

Shredder leaps from the rafters, jumping in-between the turtles; pulling his sword, he swings it around and stands defensively.

The turtles begin attacking Shredder, swinging their weapons down upon him; Shredder, spinning, blocks any attack with swiftness and skill.

Kicking out, Shredder launches Donatello across the floor while swinging his gauntlet and stabbing Raphael in the arm.

Blocking a sword strike with his own sword, he stares at Leonardo, holding the weapon away; shoving him backwards, Shredder spins and kicks Michelangelo across the face.

Raphael whips a throwing star from behind, but Shredder spins and slices it from the air with his sword.

Donatello leaps forward, twirling his bo staff; Shredder swings his gauntlet down and snaps the staff in two.

As Donatello looks at the pieces, Shredder grabs his shoulders and headbutts him with the crown of his metal helmet; Donatello lurches back.

Michelangelo strikes the back of Shredders leg with his nunchuk as Leonardo stabs forward, feeling his blade slide across Shredders chest.

Shredder recovers quickly, turning from the sword and clothes-lining Leonardo with his gauntlet.

Spinning, Shredder jumps in the air, kicks Raphael away and spins, delivering another swift kick to Michelangelo; sending them both falling to the floor.

The turtles recover and stand together, facing Shredder.

Shredder slowly stands from his crouched position and sighs.

SHREDDER  
As I thought, novice.

Jumping from the floor, Shredder grabs a wooden beam and flips up to the rafters.

SHREDDER  
As much as I enjoyed this little sparring session, I have pressing matters.

Shredder reaches to his belt and pulls out a small device with a trigger switch.

Leonardo recognizes the device and begins to look around; Donatello looks at him.

DONATELLO  
What is it?  
LEONARDO  
Detonator.

Donatello looks to the device and understands.

DONATELLO  
No!

Donatello hurls a piece of his bo staff into the air and strikes the device, sending it sailing from Shredders hand.

The turtles watch the device soar through the air, all eyes following it; into the hands of a hovering Baxter Fly.

BAXTER FLY  
Not this time turtles.  
No time to waste.

Baxter Fly hovers toward the rafters, his clawed feet drop to the wood; he slinks toward Shredder and hands the device back.

BAXTER FLY  
Shuttle to catch.  
No time.

Baxter Fly looks down and grabs an item with both clawed feet; hovering up, the turtles watch a rope ladder rise from the rafter.

SHREDDER  
Goodbye turtles.  
I'll send my condolences to the rat.

Flicking the switch, the building shutters from the massive blast in the basement.

The turtles sway, sinking to one side.

A secondary blast lights up the ceiling, splitting the roof; wood and metal rip in half down the entire pitch.

Shredder reaches over and grabs hold of the rope ladder, placing his foot on a rung.

The turtles try to stay standing as the floor below begins to bend and fall away.

As they crash through the floor, they watch the building split in two and collapse; falling down around a hovering Shredder in the night's sky.

EXT. BUILDING ROOFTOP - NIGHT  
Casey Jones covers his face from the large explosion.

Turning back, he watches helplessly as the entire warehouse collapses into a pile of dust and debris.

Scanning the rubble for life, he glances to the sky and makes out an image, Shredder.

Hanging from a ladder, Shredder looks down; scanning the destruction.

Above him, a creature hovers in the air, holding the ladder; slowly, they rise into the air and turn toward the city.

As they disappear, Casey stands from his cover and looks to the destroyed warehouse; he reaches for his Turtle Com.

CASEY JONES  
(into Turtle Com)  
Guys! Anyone there!  
INT. SHREDDERS DOWNTOWN BUILDING - LATER - NIGHT  
SHREDDERS OFFICE  
Shredder climbs into the window of his office and walks toward his desk.

Baxter Fly grabs hold of the windows sill with his claws and crouches in the window.

Watching Shredder remove his armor, Baxter Fly notices the many new cuts over his arms, legs and body.

Shredder removes his helmet, noticing Baxter Fly observing him.

SHREDDER  
They were skilled.  
More than I lead them to believe.  
Not ready to fight me individually, but definitely skilled fighting as one.  
Hamato Yoshi trained them well.  
BAXTER FLY  
I hope they died slowly.

Shredder nods, inspecting his wounds in the mirror.

SHREDDER  
We shall see.

Baxter Fly turns and looks out the window.

SHREDDER  
Bebop and Rocksteady are in route to South Carolina.  
I need another batch of Foot Bots operational for them; Rocksteady asked for them to have military combat programs installed.

Baxter Fly nods from the window.

Glancing over, he sees a fly swatter sitting on top of a filing cabinet; he studies the familiar item.

BAXTER FLY  
I'll begin at once.

Dropping from the window, Baxter Fly disappears.

INT. FOOT CLAN PIER WAREHOUSE - NIGHT  
DEBRIS  
Michelangelo opens his eyes; he sees only red.

Wiping the blood from his eyes, he glances around; darkness and dust.

Trying to stand, he realizes he is pinned under an object; his legs tingle.

MICHELANGELO  
Anyone alive?

Silence answers.

Slowly, Michelangelo feels around; his hand finds the handle of a nunchuk.

Grabbing it, he sighs in relief when his fingers find the flashlight button.

Clicking it on, he looks to his legs, a large portion of concrete is sitting on top of a wooden beam pinning his legs.

Michelangelo tries to slide out, but the beam is dug too deep into his thighs.

Turning he looks around, scanning his flashlight through the rubble; he spots another turtle laying on the ground.

MICHELANGELO  
Donnie!

Donatello doesn't respond, but someone else moans further away.

MICHELANGELO  
Hey, who's that?  
RAPHAEL  
Raph.  
MICHELANGELO  
Hey man, I'm stuck.  
Donnie's over here, he's not moving.  
RAPHAEL  
Okay, hold up.

Slowly, Raphael climbs to his feet, inspecting his body.

Bleeding from multiple wounds, he's overall okay; carefully, he makes his way to Michelangelo.

RAPHAEL  
Man, the whole place came down.  
MICHELANGELO  
Yeah, looks like we fell all the way to the basement.  
Feels like it to.

Raphael looks around, small fires begin to burn slowly.

RAPHAEL  
We need to get out of here.

Crouching next to Michelangelo, Raphael inspects his legs.

RAPHAEL  
Can you move your feet?  
MICHELANGELO  
Yeah man, just pinned down.

Standing, Raphael walks over and tries to lift the concrete; it only barely lifts an inch.

RAPHAEL  
It's too much for me man.

Someone coughs from behind and Leonardo walks around a pile of debris; a piece of wood sticking out of his side.

RAPHAEL  
You okay?  
LEONARDO  
No.  
We need to get out of here.  
RAPHAEL  
Help me lift this, Mikey's pinned.

Leonardo walks forward and helps Raphael lift up the concrete, letting Michelangelo slide out.

MICHELANGELO  
Thanks guys.  
Donnie's over there.

The three turtles walk over to Donatello's body and gasp.

Laying on the floor, Donatello is passed out, his right hand is crushed under a giant piece of concrete; blood seeps out from under the concrete from the mangled hand.

RAPHAEL  
Oh man.  
LEONARDO  
(through tears)  
Hurry up, get this off him.

The three each grab the concrete chunk and lift it away; blood begins to pour from Donatello's wrecked hand.

MICHELANGELO  
He's bleeding out!

Leonardo grabs for his mask and takes it off.

Wrapping it around Donatello's bicep, he yanks on the cloth; pulling it tight.

LEONARDO  
We need to get him outta here now.

Michelangelo and Raphael each grab Donatello by the armpits and lift him; together, they carry him.

RAPHAEL  
Where to?

Leonardo looks around, through the debris and smoke, he sees the sewer hatch several yards away.

LEONARDO  
This way!  
INT. SEWER LAIR - NIGHT  
LIVING ROOM  
Casey Jones sits on the couch, April O'Neil and Splinter sit with him.

CASEY JONES  
I watched for a while, nothing moved.  
Nothing on the Turtle Com either.  
I didn't know what to do, I just came back here.

April wipes tears from her face and turns to Splinter.

APRIL O'NEIL  
What do we do?

Splinter sighs, shaking his head.

SPLINTER  
I do not know.  
We can only wait and see.

April stands, numb, and slowly walks to the bedrooms; Casey looks over to Splinter.

CASEY JONES  
I'm sorry Splinter.  
The whole place just, lit up.

Splinter nods slowly and stands.

Walking past Casey, he lays his hand on his shoulder and gives it a squeeze.

SPLINTER  
We must be strong Casey.  
Get some rest.

Splinter walks from the living room, toward his room.

SPLINTERS BEDROOM  
Splinter walks inside his room and closes the door.

Walking forward, he approaches his dresser; looking into the mirror, he sees his bed where four small turtles once sat.

Tears begin to form on his eyes.

Turning, he walks toward the bed and collapses to his knees.

SPLINTER  
My sons!  
DONATELLO AND MICHELANGELO'S ROOM  
April stands in the center of the room, staring at nothing; memories wash over her.

Glancing around, she studies the room.

Walking forward, she approaches Donatello's desk; running her hand over the wood, she begins to cry.

Slowly, she walks over to the bed and lays down in Donatello's bunk.

Staring up, her vision blurs from the tears.

Wiping them away, she notices a corner of a picture sticking out from the bottom of Michelangelo's fitted sheet; reaching up, she pulls the small picture out.

Holding it close, she views the old image of her and Donatello hugging and posing for the picture when she was around fourteen years old.

As tears begin to pour, she holds the picture close and curls up on the bed; her body gently shakes as she begins to cry into the pillow.

DONATELLO AND MICHELANGELO'S ROOM - LATER - NIGHT  
April sleeps on the bed when a voice softly calls out; stirring, she slightly opens her eyes.

LEONARDO  
April.

April opens her eyes and sits up; she notices Leonardo's arm is in a sling.

APRIL O'NEIL  
Leo!  
Is every...  
LEONARDO  
Everyone's alive.  
Donatello's hurt bad.  
APRIL O'NEIL  
What?  
Where is he?

April slides out from the bed.

LEONARDO  
On the couch.  
Be ready, it's not good.

Tears begin to form on Aprils eyes.

LIVING ROOM  
April and Leonardo walk from the room.

April sees Michelangelo cutting off some stitching on Raphael's arm at the kitchen table; Raphael gives her a grim look.

Leonardo sits down in a chair as Splinter hands a bowl filled with bloody rags to Casey.

Casey nods and takes them to the kitchen; he begins washing the rags out in the sink.

As April rounds the couch, her breath escapes her.

Donatello lays on his side, his right arm sticking out; tied to a small brace.

Scanning the hand, April sees only one finger is still its normal shape; but very pale.

His middle finger hangs from thin strands of skin and tendons and the third is missing completely; white bone sticks out from the ripped flesh.

One side of his palm, wrist, and forearm is crushed almost flat, the entire side is split; seeming to have been popped open.

Muscle, ligaments, bone, and tissue spill out through thick dried blood.

Her eyes go up his arm where two cloths are tied tight on his forearm and bicep; feeling faint, she turns from the wound.

Raphael steps up and hugs her.

RAPHAEL  
He's alive.

April cries into Raphael's chest.

APRIL O'NEIL  
His hand Raph.  
RAPHAEL  
(through tears)  
I know.  
APRIL O'NEIL  
Anything but his hands.  
It's Donnie.

Raphael hold her tight, looking to Donatello's mangled hand.

EXT. DIRT ROAD - DAWN  
Bebop and Rocksteady pull their SUV over on the small dirt path in South Carolina.

INT. SUV - dawn  
Looking through the wet windshield, they see the dark outline of the W.J. Gooding Bridge further ahead, above, in the rain.

Headlights of vehicles slowly pass over the bridge.

BEBOP  
Alright.  
Time to setup shop.

Rocksteady nudges Bebop and nods out the window; Bebop turns and sees a small house sitting under thick trees.

Looking around, Bebop sees no other houses in the vicinity.

ROCKSTEADY  
Perfect place.  
Secluded.

Bebop and Rocksteady watch the house for a bit.

EXT. SECLUDED HOUSE PORCH - dawn  
Bebop walks up the steps to the dark home and knocks on the door.

A moment later, the porch light comes on and the door cracks open.

Bebop smashes the door open with his foot and sends the woman crashing to the inside floor.

Pulling out his silenced pistol, he aims and places two rounds in the woman's forehead.

Slowly, Bebop walks inside.

INT. SUV - dawn  
Rocksteady watches Bebop enter the home and leans back, listening to the radio.

INT. SEWER LAIR - DAWN  
LIVING ROOM  
Donatello opens his eyes and sees only red.

Focusing, he realizes April is laying on him, her hair flowing over his chest.

Pain runs through his body and he remembers the night before; he stirs slightly and April looks up to him.

APRIL O'NEIL  
Hey.  
DONATELLO  
Hey.  
APRIL O'NEIL  
How do you feel?  
DONATELLO  
Not great.  
Is everyone okay?

April nods.

Donatello leans back into his pillow and looks down to his heavily bandage hand.

DONATELLO  
How bad is it?

Aprils eyes begin to fill with tears, she leans closer and places her forehead against his.

They lay together in the dark room.

INT. SECLUDED HOUSE - DAY  
KITCHEN  
Rocksteady sits at the kitchen table, counting the plastic explosives he has set out.

Standing, he walks to the counter and looks over a map of the area and the blueprint of the bridge; he leans down and begins circling a series of columns that hold the bridge up.

Looking up, he sees Bebop smoking a cigarette outside.

EXT. BACKYARD - day  
Bebop stands by the deflated raft, watching it slowly rise; the black rubber starts to bump out in random places.

He blows out smoke and looks over to the compressor; satisfied, he throws his cigarette and turns for the table behind him.

Pulling up the lid on a crate, he looks to the row of assault rifles resting on the foam inserts.

Pulling one out, he carefully inspects the weapon and looks down the barrel; looking over, he sees four more similar crates on the ground.

INT. SEWER LAIR � DAY  
KITCHEN  
Leonardo and Raphael rest at the kitchen table as Splinter sanitizes first aid items in the sink.

LEONARDO  
I should have gotten us out of there the moment I saw that detonator.  
I froze.  
RAPHAEL  
We all did, it's not your fault.  
Who could have predicted Shredder would blow the building like that, he was inside it to.  
LEONARDO  
I can still picture him in the sky, just, watching us fall.  
RAPHAEL  
Yeah.  
Man, he was good huh?  
Fast.

Leonardo nods silently.

RAPHAEL  
Don't beat yourself up man; we're just kids.  
We will learn from it, be that much better next time.

Leonardo glances toward the couch.

LEONARDO  
Someone might die nex...  
SPLINTER  
(upset)  
That is enough.

Splinter turns from the kitchen counter towards them.

SPLINTER  
Donatello is alive because you got him out of there, remember that.  
No one said this would be easy.

Raphael and Leonardo look up to Splinter.

SPLINTER  
You are not expected to save the day or know everything Leonardo.  
Knowledge comes from experience.  
Learn from this; your brothers will follow you.

Splinter sighs, placing his hands on their shoulders.

SPLINTER  
When you have completed ninety-five percent of your journey, you are only halfway there.

Leonardo and Raphael faintly smile at Splinters favorite quote.

LIVING ROOM  
Donatello lays on the couch, looking at his wrapped hand; his legs lay over April O'Neil's legs.

Michelangelo and Casey Jones are resting on the chairs.

CASEY JONES  
How you feel Mikey?  
Michelangelo  
((quoting )Speed)  
Like I been shot

Michelangelo smiles weakly, shifting slightly.

DONATELLO  
We should to go to Florida.

April is looking over the Lunium tube as she smiles at him.

APRIL O'NEIL  
Yeah, I think we could all use a vacation.

Donatello smiles, shaking his head.

DONATELLO  
No, I meant the shuttle.  
Baxter mentioned it before they blew the building; Shredders going after the Saturn Glass.  
CASEY JONES  
I don't think anyone's in shape for another fight right now.  
DONATELLO  
I'll never be.  
APRIL O'NEIL  
Don't say that.

Donatello nods slowly, glancing at his hand again.

DONATELLO  
My hands gone April.  
They had to take the middle finger when they...  
APRIL O'NEIL  
I know.  
I was there.

Donatello sighs.

DONATELLO  
I'm sorry.

April nods, holding back tears.

APRIL O'NEIL  
Are you hungry?

Donatello shakes his head.

DONATELLO  
Not really, just hurting.

April carefully stands, placing his legs on the couch; tossing the Lunium tube down, she turns for the kitchen.

APRIL O'NEIL  
I'll make you something.  
You need to eat.

Donatello fumbles at the tube with his good hand and looks it over; looking at the two red lights, he sets it down.

DONATELLO  
I'm missing something with this whole thing.  
MICHELANGELO  
What'ya mean?  
DONATELLO  
I don't know, just a feeling.  
Like, somethings right in front of me, but I can't see it.

Thinking, Donatello sits up slowly; gritting his teeth from the pain.

DONATELLO  
Hey Casey, could you bring me all the stuff Perry gave us.  
I might as well keep looking while I sit here.

Casey nods and jumps to his feet.

EXT. SECLUDED HOUSE - DAY  
Bebop and Rocksteady sit on the steps of the house, watching Foot Soldiers load up the inflated Zodiac Combat Raft on a trailer attached to a Jeep Wrangler; a large crate sits inside the raft.

BEBOP  
Straight down this road guys, you'll come to the lake.  
Take the boat to the opposite side and hide it under the overpass.  
ROCKSTEADY  
Don't forget the extra gas tank either.  
Once you unload the boat, drop the Jeep off at the spot I showed you.  
Wait for dark and return here.

Bebop stands as a Foot Soldier nods, climbs in and starts the vehicle; it pulls away, heading down the dirt road.

BEBOP  
So what's next?

Rocksteady thinks a moment, rubbing his eyes.

ROCKSTEADY  
I'll take the boat out tonight after dark and set the charges.  
If you want, you could come with me and install the radio jammers.

Bebop nods.

ROCKSTEADY  
We need one about every thirty feet or so.  
BEBOP  
We have enough?

Rocksteady chuckles, standing.

ROCKSTEADY  
Oh yeah, Shredder gave us about fifty.  
Let's just go every twenty feet so we know we have the entire area covered.  
BEBOP  
So that leaves us with what, the cover barriers?  
ROCKSTEADY  
Yup. We can knock those out tomorrow and pretty much be ready to rock.

As Bebop and Rocksteady turn to get back to work, an ATV burst down the dirt road and skids to a stop.

Slowly, the  
DRIVER, 22, lifts his visor and stares at Bebop and Rocksteady.  
They stare at each other silently.

ROCKSTEADY  
Hey man, nice day for a rid...

The driver whips his ATV around in the road and rockets away; back the way he came.

BEBOP  
Damn it.  
Let me.

Bebop walks to the road and watches the ATV drive away; dust flying behind it.

Sighing, Bebop begins to run down the road, gaining speed, faster and faster.

EXT. ATV - MOVING - day  
The driver skids around corner, turning the ATV back straight and pressing the throttle to max.

Looking behind as he drives, his eyes go wide; Bebop bursts through the dust, on all fours, galloping behind, closing the distance.

DRIVER  
What the fu...

Bebop jumps from the road and tackles the driver off the ATV, sending them both rolling into the woods beside the road.

The ATV turns slightly and crashes into the trees, coming to a stop.

EXT. WOODS - DAY  
Bebop walks through the woods, finding the driver sitting against a tree.

The man looks up at him; his helmet lays beside him.

DRIVER  
What are you?

Bebop shrugs as he kneels in front of him, placing a cigarette in his mouth.

BEBOP  
I'm just the wrong place at the wrong time pal.

Bebop reaches for his lighter and swings out his hooved hand, slashing the man's throat open; blood covers the green foliage.

The man grasps at his throat, watching Bebop light the cigarette and smile.

EXT. SECLUDED HOUSE - LATER - DAY  
Rocksteady walks out onto the porch, cleaning a weapon, as Bebop climbs from the ATV.

Looking up, Bebop smiles.

BEBOP  
I've always liked these things.  
INT. SEWER LAIR - DAY  
LIVING ROOM  
Donatello sits on the couch, watching the same film from the portal laboratory; April and Raphael sit around relaxing.

Pressing the remote, Donatello pauses the video.

DONATELLO  
Look familiar?

Raphael looks up from his magazine, he nods his head.

RAPHAEL  
Our little friends.

On screen, the paused image shows several small MOU-SR robots sitting on a shelf to the right of the portal.

DONATELLO  
I knew I recognized them.  
RAPHAEL  
So what's the connection?  
DONATELLO  
Stockman.  
He was the mechanical engineer, he probably developed them.

Raphael looks at the video, throwing a pork rind in his mouth.

RAPHAEL  
(chewing)  
Land I will show you.  
DONATELLO  
Huh?

Raphael points to the screen, swallowing.

RAPHAEL  
On the wall, above the portal.  
It says 'Land I will show you.'

Donatello turns and studies the video, he presses the play button and lets the video continue.

As the camera pans further left, he presses pause again; squinting at the quote written above the portal.

DONATELLO  
'Go from your country... to the land I will show you.'  
APRIL O'NEIL  
Some kinda motivational quote for the project?

Donatello shrugs, rereading the quote.

SPLINTER  
That is from the Bible, correct?

Donatello turns and sees Splinter standing behind the couch.

DONATELLO  
The Bible?  
I don't know; I doubt it.

Donatello looks at the Lunium tube inscription.

DONATELLO  
So we have, 'Inside every black hole... a new expanding universe' and 'Go from your country... to the land I will show you.'

Raphael shrugs, eating another pork rind.

RAPHAEL  
We need Nic Cage for all these riddles.

Donatello smiles and nods; thinking.

He looks up at Splinter.

DONATELLO  
Where in the Bible?  
SPLINTER  
(shrugging)  
I have no idea, I was raised with Buddhism.  
I just recall hearing that quote once.  
DONATELLO  
I doubt it is.  
This whole project was about space exploration; black holes, portals, entirely new univer...  
APRIL O'NEIL  
No, he's right.  
From the Bible.

Donatello looks to April, who is holding up her phone with a Google search.

DONATELLO  
Really? Odd.

April nods and looks to her phone.

APRIL O'NEIL  
Says, from the book of Genesis.

Donatello sits up quickly, regretting the sudden shift.

DONATELLO  
What?  
APRIL O'NEIL  
Book of Genesis.

Donatello smiles, picking up the Lunium tube.

Slowly, he turns to the keypad.

DONATELLO  
Do you guys know what the definition of genesis is?  
It means origin or beginning.

Slowly, Donatello begins to type letters into the keypad.

G-E-N-E-S-I-S  
DONATELLO  
Like, the beginning of... a new expanding universe.

Holding his breath, he watches the red lights.

After a moment, a small hiss lets out. The two sealed latches on the end release slightly.

MICHELANGELO  
Bro, you Tom Hanksed the shit outta that.

Donatello looks up, seeing everyone standing around watching.

He opens the tiny latches and peers inside.

Shaking the tube onto his chest, a small rounded plastic bag falls out; inside something sits.

Setting the tube down, Donatello reads a small label on the plastic bag;

TOP SECRET � CIA/NASA OPERATIONS; M.I.T. PROJECT DIMENSION X EYES ONLY.  
Donatello hands April the plastic bag.

DONATELLO  
Can you open this please?

April grabs the bag and finds the seal.

Pulling it open, she reaches inside and pulls out a small black and purple piece of glassy rock.

APRIL O'NEIL  
Is this?  
DONATELLO  
(nodding)  
Saturn Glass.

Splinter smacks Donatello on the shoulder.

SPLINTER  
You're welcome.  
EXT. SECLUDED HOUSE - NIGHT  
BACKYARD  
Bebop and Rocksteady are drinking beers standing around a grill when they see headlights pull up in the front of the house.

ROCKSTEADY  
I got it.

Bebop nods, flipping the steaks over.

FRONT YARD  
Rocksteady peers around the house and sees a large box truck; a Foot Soldier nods from the window.

Walking out, Rocksteady finishes his beer and throws the bottle.

ROCKSTEADY  
What'ya got for me?

The Foot Soldier climbs from the seat and walks to the back.

Sliding the door up, Rocksteady sees ten Foot Bots slumped over; they wear the Foot Clans uniform in grey/white camouflaged color.

ROCKSTEADY  
Nice.  
These the combat versions?

The Foot Soldier nods.

ROCKSTEADY  
You guys don't talk much, do ya?

The Foot Soldier shrugs.

FOOT SOLDIER  
Not really.  
ROCKSTEADY  
What's your name kid.  
FOOT SOLDIER  
Frank.

Rocksteady nods smiling.

ROCKSTEADY  
Frank the Foot ninja.  
What you do before the Foot?  
FOOT SOLDIER  
Worked at Toys R Us.

Rocksteady snorts.

ROCKSTEADY  
Jesus.  
Shame what happened to them.  
FOOT SOLDIER  
Freaking Amazon.

Rocksteady shakes his head.

ROCKSTEADY  
Alright Frank, let's get these unloaded.  
We got a spare room upstairs for you tonight; you hungry?  
FOOT SOLDIER  
I could eat.  
ROCKSTEADY  
Cool, we got steaks on.  
Let's knock this out and grub.

The Foot Soldier nods and jumps into the truck; he begins removing the ratchet straps around the Foot Bots.

INT. APRILS VAN - MOVING - DAWN  
Michelangelo leans back, looking over a map of Boston listening to his iPod.

Casey Jones drives down the highway as April O'Neil sits in the passenger seat; all four turtles sit on the floor in the back.

MICHELANGELO  
(yelling over music)  
No worries guys.  
I've put about two hundred hours into Fallout 4, I know this city pretty well.

Donatello smiles faintly as he tries to keep his arm from bouncing around in the sling.

DONATELLO  
As long as we all understand that this is a complete guess.  
The label did say M.I.T.; it's gotta be the Institute of Technology.  
Plus, Perry always guessed east coast.

Leonardo holds the Saturn Glass, looking at it closely.

LEONARDO  
And if you're right, then what?

Donatello shrugs, resting his eyes.

DONATELLO  
Look for clues, study the portal, go into a black hole?

Donatello clenches in pain as the van hits a pothole; April notices his pale skin watching from the passenger seat.

APRIL O'NEIL  
Do you need water Donnie?

Donatello slowly shakes his head; eyes closed.

DONATELLO  
Just have Casey avoid the bumps please.  
CASEY JONES  
Sorry bro.  
DONATELLO  
If we do find this laboratory, we need to learn as much as possible.  
Maybe we can stay one step ahead of Shredder this time.

A water bottle lands in his lap, scaring him; he looks to April.

APRIL O'NEIL  
Drink it.  
EXT. FLORIDA HIGHWAY - DAWN  
COREY WILLIAMS, 36, Louisianan ex-military, NASA security officer, lowers his binoculars.  
Pulling out his phone, he dials a number and look around; his Australian red bush hat shields the sun.

His Cajun accent is thick as he talks.

COREY WILLIAMS  
(into phone)  
It's me.  
Shuttle jus' landed.

Corey listens to the phone, turning to look around.

COREY WILLIAMS  
(into phone)  
I'll call back when da convoy leaves.  
Dat give'em bout six hours heads-up.  
(listening)  
I'm in da car now  
(listening)  
Will do.

Corey hangs up the phone and climbs into his stolen police car.

Looking back, he turns onto the highway and drives north.

EXT. FOOD SHACK - LATER - DAY  
Corey turns his police car off of route 95 and parks at a small food shack sitting off the highway.

Walking up to the window, he orders his food.

COREY WILLIAMS  
Lemme get da crawfish basket an fries please, side a corn.  
Two beers sha.

Turning, he scans the wooden deck for a seat.

Sitting at a table, Corey places his red bush hat on the table and cracks his beer; resting his feet on another chair.

He drinks his beer as vehicles drive past, heading north on route 95.

INT. APRILS VAN � DAY  
ALLEY  
Casey Jones turns the van off the main road in Cambridge, Massachusetts and drives down an alley.

Checking his mirror, he slows to a stop and nods to Leonardo; Leonardo looks out of the sliding door window and sees the sewer lid.

LEONARDO  
That works.

After scanning the alley, Leonardo opens the door and slides the sewer lid to the side; all except April and Donatello climb down the ladder.

Donatello slides the lid back on and closes the door; April watches him lean back, breathing hard from the task.

APRIL O'NEIL  
You good?

Donatello gives her a weak thumbs up.

INT. BOSTON SEWER - DAY  
Leonardo looks to his football wrist coach at the layout of the sewer system as Michelangelo shines his flashlight around.

LEONARDO  
Okay, south from here will take us to M.I.T.  
Raph, take lead with the power gizmo.

Raphael nods and looks down to the power meter made by Donatello.

RAPHAEL  
Okay, okay. Let's see.

Raphael switches on the device and watches it light up and run a quick calibration.

Slowly, the needle begins to turn and point south, like a compass; a display on the screen shows positive or negative, representing their vertical position to the source.

CASEY JONES  
You understand that thing?  
RAPHAEL  
Not really.  
Donnie said it tracks large power sources.  
LEONARDO  
Like the satellite power cores in the original facility.  
MICHELANGELO  
Or maybe we'll find a class 5 full roaming vapor?  
CASEY JONES  
I ain't afraid of no ghost.

Michelangelo and Casey Jones chuckle at the joke.

RAPHAEL  
Okay, this confirms south.

Leonardo nods and they begin to navigate; following Raphael and his power meter.

INT. APRILS VAN - DAY  
ALLEY  
April watches Donatello rest from the driver's seat when she hears someone approaching.

Turning, a city  
COP, 54, is walking down the alley toward her.  
APRIL O'NEIL  
Donnie, cop.

Donatello nods; slowly he lays on the floor and wraps a large blanket over him.

April smiles as she lowers her window.

APRIL O'NEIL  
Hello officer.

The cop leans on the window and peers inside.

COP  
You can't park here lady.  
APRIL O�NEIL  
Oh, I'm sorry.  
I was just looking for someplace to eat my lunch real quick.  
COP  
Sorry, gonna have to find somewhere else.  
I let you stay here, pretty soon you'll have five other cars parked behind ya, following suit.  
APRIL O'NEIL  
I understand, I apologize.

The cop nods and stands back as April starts her van.

COP  
It's just a fire hazard thing.  
We need this lane open for the hydrants.

April smiles and nods.

APRIL O'NEIL  
Not a problem sir. Thank you.

The cop waves as April pulls her van out of the alley and drives away.

INT. APRILS VAN - MOVING - day  
As April drives down the road, she scans for parking lots; Donatello sits up and watches her drive.

DONATELLO  
Can you turn the AC on?  
I'm really hot.  
APRIL O'NEIL  
Sure thing.

April blasts the AC as she turns into the parking lot, west of M.I.T.

Grabbing her ticket, she pulls her van inside and drives to the top floor; nearly empty.

INT. APRILS VAN - DAY  
PARKING LOT  
Parking in a space facing M.I.T., she puts the vehicle in park and turns to Donatello.

APRIL O'NEIL  
Is the air working?

Donatello is sitting up, drinking a bottle of water.

DONATELLO  
Yeah its helping, thanks.

April leans over the seat and places her hand on his head.

APRIL O'NEIL  
Man, you're burning up.  
I have some medicine.

Donatello takes the two capsules and swallows them with his water; lowering, he lays down on the floor.

APRIL O'NEIL  
You need a hospital.  
DONATELLO  
(chuckling/coughing)  
Yeah.  
That would go over really good.

April watches him lay on the floor, his breathing labored; her phone vibrates and she looks down, reading the alert.

APRIL O'NEIL  
The shuttle landed.

Donatello chuckles from the floor.

DONATELLO  
Awesome.  
INT. BOSTON SEWER - DAY  
Leonardo walks up to Raphael, who's holding the power meter and looking around.

LEONARDO  
We should be directly under M.I.T. now.

Raphael nods and watches the needle, it jerks one way, then the other; unreadable.

RAPHAEL  
I can't get anything with this.  
It's all over the place.  
INT. APRILS VAN - DAY  
PARKING LOT  
Donatello lays on the floor of the van.

LEONARDO  
(over Turtle Com)  
Hey Donnie, you there?

Donatello keeps his eyes closed and reaches for his Turtle Com.

DONATELLO  
(into Turtle Com)  
Sup.  
LEONARDO  
(over Turtle Com)  
Hey, were under M.I.T. and we can't get a reading.  
The needle just flaps around and the display keeps swapping negative and positive.

Donatello lays the Turtle Com on his chest, thinking for a moment.

DONATELLO  
(into Turtle Com)  
There's a small knob on the side of the meter, if you turn it clockwise all the way, you�ll max the density level.  
That should make the meter only focus on the highest power source.  
LEONARDO  
(over Turtle Com)  
Okay, hold up.  
DONATELLO  
(into Turtle Com)  
It's probably going berserk from all the power sources in M.I.T.  
Just max it out and it'll take you to the largest one, which should be the cores.

Donatello rests the Turtle Com on his chest, coughing.

LEONARDO  
(over Turtle Com)  
Ok, Raph says that fixed it.  
We'll contin...  
What? Not rig... Ugh hold on.  
Hey Donnie, Mikey wants to talk to you.

Donatello slowly shakes his head.

MICHELANGELO  
((over Turtle Com/ impersonating )Jurassic Park's Ian Malcolm)  
Donnie, uh, look above you.  
There should be a large bundle of cables and uh, pipes, all heading in the same direction.  
Follow that.

Donatello smiles at the quote.

INT. BOSTON SEWER - DAY  
Michelangelo hands the Turtle Com back to Leonardo smiling; Leonardo shakes his head and turns to Raphael.

LEONARDO  
We good?

Raphael nods, looking to his power meter.

RAPHAEL  
Keep heading south.  
This says it's below us.  
LEONARDO  
(confused)  
Away from M.I.T.?

Raphael shrugs.

CASEY JONES  
There's a tunnel right there we could try.

Leonardo turns and looks down the sewer.

LEONARDO  
Okay, let's go.  
INT. APRILS VAN - LATER - DAY  
PARKING LOT  
Donatello wakes from the floor and sits up; April is sitting next to him against the wall.

APRIL O'NEIL  
How ya feeling?

Donatello nods and leans against her.

DONATELLO  
Better actually.  
How long was I out?  
APRIL O'NEIL  
Over an hour.  
DONATELLO  
Any update from the guys?

April shakes her head and then rest it on his shoulder; Donatello looks for his computer and slides it to himself with his foot.

He begins to type with his good hand.

DONATELLO  
The Turtle Coms have GPS trackers, I can see where they...

April opens her eyes and looks at the screen.

APRIL O'NEIL  
What is it?  
DONATELLO  
This can't be right.

Donatello reaches for his Turtle Com.

INT. BOSTON SEWER - DAY  
Leonardo follows Raphael down a small tunnel when Donatello comes over the Turtle Com.

DONATELLO  
(over Turtle Com)  
Sightseeing guys?

Leonardo smiles and pulls off his Turtle Com.

LEONARDO  
(into Turtle Com)  
Following the meter.  
DONATELLO  
(over Turtle Com)  
You're way off course.  
You're under the Charles River.  
LEONARDO  
(into Turtle Com)  
This thing is locked onto something down here, it hasn't shifted once.  
Says its below us still, Straight ahead.  
DONATELLO  
(over Turtle Com)  
Not sure what that could be.  
Okay, lemme know.

Leonardo lowers his Turtle Com and ducks under some pipes; the group squeeze through the tunnel, leaning over now.

RAPHAEL  
It's gettin' tight.  
INT. APRILS VAN - DAY  
PARKING LOT  
Donatello shakes his head, looking at the Turtle Com GPS.

Pointing, he turns the laptop to April.

DONATELLO  
Look at this, they are walking northeast, directly under the river.  
Just... following it.  
APRIL O'NEIL  
Raphael says there's a power source.

Donatello carefully stands and stares out the front windshield.

Scanning the river, he spots a building across the way, he studies the small structure.

Turning back, he sits at his computer and brings up Google Maps, typing in their location.

Looking over the area for several moments, he sits back; thinking.

APRIL O'NEIL  
Whatcha thinking?  
DONATELLO  
Can you drive us here?

April reads the web-page.

APRIL O'NEIL  
Charles River Esplanade.  
Sure.  
INT. BOSTON SEWER - DAY  
Raphael stops at a dead-end and turns to Leonardo.

RAPHAEL  
Now what?  
We need to keep going.  
MICHELANGELO  
Check your feet bro.

Raphael and Leonardo look down and see a small access hatch in the floor.

LEONARDO  
Bingo.  
INT. BUNKER - DAY  
SECURITY ROOM  
Casey Jones drops to the concrete floor and looks around.

The musty room is littered with old technology; tables line the walls with old computers and a series of huge monitors hang from the walls.

LEONARDO  
Security room of some kind.  
Weapons, gear, and armor in these lockers.  
RAPHAEL  
I got different procedures in these manuals here; safety measures, defensive positions, emergency contacts.

Raphael shakes the dusty manual and lays it down as Michelangelo shines his flashlight around; coming across a calendar hanging on the wall.

MICHELANGELO  
Dudes.  
Check it.

The group walk to Michelangelo and look at the calendar.

CASEY JONES  
Nineteen eighty-eight.  
RAPHAEL  
The year Perry said they went back in.

Leonardo stares at the calendar, reaching for his Turtle Com.

LEONARDO  
Where's that power source at Raph?  
INT. APRILS VAN - DAY  
Charles River Esplanade  
Donatello stares at the building out of Aprils windshield.

DONATELLO  
No windows.

Donatello starts coughing and rests on the floor.

April studies the building, concrete blocks fill in a gap where a garage door once stood; spray painted many times.

APRIL O'NEIL  
And this building isn't on Google Maps?

Donatello faintly shakes his head; sweat beads on his forehead.

DONATELLO  
Not at all.  
From satellite, from street view; it just... doesn't exist.  
They removed it completely.  
APRIL O'NEIL  
Why? It's a shack.

Leonardo voice comes over the Turtle Com.

LEONARDO  
(over Turtle Com)  
Yo Donnie.  
We're in some room down here.  
There's a calendar from nineteen eighty-eight.

Donatello and April look to each other, Donatello closes his eyes and smiles; leaning back on the wall.

DONATELLO  
We found it.  
INT. SECLUDED HOUSE - DAY  
LIVING ROOM  
Bebop stands back and inspects the large metal piece of equipment; he knocks his hoof on the thick metal.

ROCKSTEADY  
Like em?  
BEBOP  
Sure.  
So we just, what, put these on the bridge?  
ROCKSTEADY  
Yeah, they're measured to fit right over the concrete edge of the southbound bridge.  
Two guys can stand behind one of these easily and fire across.

Rocksteady walks up to the barrier and simulates taking cover.

ROCKSTEADY  
Four feet wide, two slits to fire from.

Bebop nods.

BEBOP  
Weapon crates and ammo at each one.  
ROCKSTEADY  
Yep.  
When we drive up, I'll install these, seven total.  
You come next dropping the crates, then you head for the boat.  
BEBOP  
Williams get the police car?

Rocksteady nods.

ROCKSTEADY  
Won't be long now, get some rest.  
I'll let you know when the Cajun calls.  
INT. BUNKER - DAY  
HALLWAY  
Raphael looks at his power meter, the needle points straight; Stopping, he stares down another hallway branching off to his right.

MICHELANGELO  
Leo, power source is straight ahead.

The group looks ahead and sees a large steel door; Leonardo looks right, down the branching dark hallway.

LEONARDO  
Okay, stay here.  
Me and Casey will check this hall real quick.  
CASEY JONES  
What's next?  
We already found, what; bedrooms, the rec room, bathrooms...  
RAPHAEL  
Cafeteria.  
CASEY JONES  
Yeah, maybe the indoor pool is down there.  
LEONARDO  
Let's find out.

Leonardo and Casey turn and walk down the hallway; walking forward, Leonardo sees a steel gate with a door installed.

Behind, a desk sits; further back, elevator doors.

Inspecting, Casey pulls on the gate door and it SCREECHES open.

CASEY JONES  
Easy enough.

Leonardo nods as he walks past the desk, peering down; a list with signatures is resting against an old radio, wristbands with numbers are scattered over the top of the desk.

Casey presses the elevator button a few times with no response; together, they pry the doors open and stare up the elevator shaft.

INT. APRILS VAN � DAY  
Charles River Esplanade  
Donatello is watching the Turtle Com GPS when he sees one is almost directly underneath him.

Turning slowly, he grabs for his Turtle Com.

APRIL O'NEIL  
I think you need more medicine.  
Your starting to look bad again.

Donatello smiles faintly.

DONATELLO  
(into Turtle Com)  
Leo, what's your position?  
LEONARDO  
(over Turtle Com)  
Elevator shaft.  
Elevator is above, no power or ladder.

Donatello looks at the building.

DONATELLO  
(into Turtle Com)  
Hold there, lemme see what I can find topside.  
I'm right above you.

Donatello takes a few breaths and looks around outside, seeing no one, he slides open the door and steps outside.

EXT. CHARLES RIVER ESPLANADE - DAY  
SHACK  
Sneaking up to building quickly, Donatello looks for a door.

On the east side, he finds similar concrete blocks filled in where a door once was; identical to the garage doors.

Walking to the back of the building, he spots some dumpsters and jumps to the roof.

A car drives past and he falls to the roof quick, landing hard on his forgotten bad hand; rolling over, he moans, feeling sick.

Taking a few breaths, he slowly crouches on the roof and looks around; a small vent is turning from the breeze.

Walking over, he peers through and sees the interior floor. Using his good arm, he tugs on the vent; the screwed down metal bends slightly.

Sitting down against the vent, Donatello rests a moment.

Slowly, Donatello crouches, bending his knees, back against the vent; reaching down with his good hand, he grabs the vent tight.

With all his strength, he begins to stand, straightening out his knees; his arm muscles bulge as he pulls the vent up.

Finally, the metal rips from the screws and the vent POPS from the roof; Donatello throws the vent and lays down, gasping.

Rolling to his side, he looks down, inside the building; on the far wall, an elevator sits with its doors closed.

INT. SHACK - DAY  
Dropping inside, Donatello limps to the elevator and pry's the doors open.

In the floor, a square panel is seated flush into the carpet; kneeling down, he pulls at the panel and slides it over.

Leonardo shouts from far below.

LEONARDO  
(yelling)  
Donnie?  
DONATELLO  
(shouting)  
No, Fuller Brush.  
You guys need a new vacuum?  
APRIL O'NEIL  
Donnie, you look terrible.  
You need to rest.

Donatello looks up at the vent opening, Aprils head is sticking down; he closes his eyes for a moment.

DONATELLO  
I will bab... er, April.  
Sorry.

Donatello eyes are wide at the sudden embarrassment; Aprils mouth hangs open, smiling at him from the opening.

Donatello turns to the elevator shaft; changing the conversation.

DONATELLO  
(yelling)  
So how do I get down there.  
LEONARDO  
(shouting)  
You gotta climb bro.

Donatello sighs.

DONATELLO  
(yelling)  
Okay, gimme a minute, I'll get some...

Donatello stops before he finishes.

MICHELANGELO  
(shouting)  
Say it!

Donatello smiles and shakes his head; turning, he looks to April.

DONATELLO  
Could you get my Battle Bag?  
We need rope.

April nods from the opening.

APRIL O'NEIL  
Sure thing... babe.

April laughs, disappearing as Donatello rubs his head; sighing.

INT. POLICE CAR - MOVING - DAY  
Corey Williams listens to his music as he drives on route 95.

Twenty cars ahead, a small government convoy travels north; driving close together.

Reaching for his phone, Corey turns down the music and dials a number.

COREY WILLIAMS  
(on phone)  
It's me.  
Got bout' two hours till we reach da bridge.  
I'll call back twenty minutes out.  
(listening)  
These guys don't know what bout' to hit'em, I guarantee.

Corey hangs up the phone and turns his music back up.

INT. BUNKER - DAY  
HALLWAY  
Donatello lands softly on the concrete floor and shakes his rope burned hand.

Turning, he walks over to the rest of the group.

RAPHAEL  
Dude, you look terrible.  
APRIL O'NEIL  
I told him that.  
DONATELLO  
Nice to see you to Raph.

Donatello faintly smiles.

CASEY JONES  
I saw some medicine in the bedrooms.  
I'll go see what they have.

Leonardo nods as Casey walks away and turns to Donatello worried.

LEONARDO  
You should have stayed home.  
I didn't realize you were this bad.

Donatello shrugs.

DONATELLO  
Well here I am.  
Where's this door?

The group turn and take Donatello to the steel locked door.

RAPHAEL  
Power meter points straight to it.  
The laboratory's gotta be behind.

Donatello walks to the door and rests on the wall, sliding down to sit; he studies the door.

DONATELLO  
No unlock button in the security room?  
Keypad or anything?

Leonardo shakes his head.

LEONARDO  
Only thing we found was a small insert.  
Mikey wants one of Aprils hair pins.

Donatello looks up at Michelangelo confused.

MICHELANGELO  
I think I can jimmy it.

Donatello laughs, turning into a coughing fit.

DONATELLO  
Where's the insert?

Michelangelo walks over and points to a slim insert; the size of a credit card.

DONATELLO  
That's a card reader.  
Only certain people were probably allowed in.  
Priority personnel were most likely given...

Donatello thinks.

APRIL O'NEIL  
(worried)  
Are you okay?

Donatello looks at her.

DONATELLO  
Key-cards.

Donatello turns to Leonardo.

DONATELLO  
Up in the van.  
I have the box Perry gave me, he had a key-card in it.

Leonardo begins walking backwards.

LEONARDO  
In the van.  
Box.  
Unlocked April?

April throws Leonardo her keys and he turns down the hallway.

INT. BUNKER - LATER - DAY  
HALLWAY  
April gives Donatello some medicine as he lays against the wall.

Drinking some water, Donatello looks at her; they lock eyes for a moment.

April smiles and stands as Leonardo runs back around the corner.

LEONARDO  
Mikey.

Leonardo throws the key-card while setting the box from Perry down next to Donatello.

Michelangelo catches the keycard, turning for the door.

Carefully, he inserts it and stands back.

MICHELANGELO  
((quoting )Aladdin / cave voice)  
Only one may enter.  
That whose worth lies far within.  
The diamond in the, diamond in the, diamond in the rough.

Michelangelo's arms are stretched out; he opens his eyes, but the door remains closed.

MICHELANGELO  
Hmmm.  
DONATELLO  
Hey Jafar, key-cards usually need to be inserted, then pulled out.

Michelangelo walks forward and pulls the card out, a moment goes by and they all hear several locks disengaging.

A piercing metal on metal SCREECH lets out and the door pops toward them several inches; dust blows out from the dark room.

Leonardo and Raphael step forward and grab at the lip; together, they slowly pull the heavy door open.

EXT. SECLUDED HOUSE - DUSK  
Bebop and Rocksteady set the last crate down inside the box truck and climb out.

Sliding the door down, Rocksteady looks inside the second box truck; seven steel barriers sit in a row.

BEBOP  
That's all of it.

Rocksteady nods.

ROCKSTEADY  
Yeah, now we just wait for the Cajun.

Turning, Rocksteady looks at three Foot Soldiers.

ROCKSTEADY  
Frank?

One of the Foot Soldiers turns his head toward Rocksteady.

ROCKSTEADY  
Top these tanks off and make sure they�re ready to roll.

The Foot Soldier nods and heads for the truck.

BEBOP  
I like Frank.  
INT. BUNKER - DUSK  
LABORATORY  
Donatello rubs the dust from the wall, reading the placard:

\- LAB � SUB LEVEL 1 �  
DONATELLO  
Definitely it.

April stands beside him.

APRIL O'NEIL  
Underground.

Donatello smiles at her, turning to walk further into the old laboratory.

Another room filled with old technology, he glances over the dozen work stations; appearing to have been suddenly left at once and never returned to.

Leonardo picks up a printout of data labeled MOU-SR; serial numbers line the pages.

He throws it back to the table, spraying dust in the air.

Kneeling at a computer, Michelangelo presses the power button; no response. He stands and flicks a light switch up and down.

MICHELANGELO  
No juice in here either.

Donatello looks to Raphael and Casey looking at the power meter.

DONATELLO  
What ya got?  
RAPHAEL  
This way.

The group follow Raphael to a set of stairs.

LEONARDO  
Mikey, light.

Michelangelo walks forward and shines his light down the steps.

They all stare at the massive portal frame sitting against the wall; Donatello turns Michelangelo's hand slightly upward.

Above the portal written on the wall; 'Go from your country... to the land I will show you.'

RAPHAEL  
Power cores, right there.

Donatello reads the inscription again, smiling, as they all walk down the stairs.

Leonardo and Michelangelo inspect the portal; following power cords, they trace them back to a breaker box mounted beneath the stairs.

Michelangelo throws the breakers and lights begins flickering on, one by one, in sections of the laboratory.

Donatello squints in the light and finds a chair; slumping into it, he rests his head back and closes his eyes.

April looks over a laser pointed at the portal frame and finds a small dish sitting in front of the laser.

Walking over to the box from Perry, she grabs the Saturn Glass and returns to the laser; carefully, she sets the Saturn Glass in the dish and nods.

Turning, she sees Donatello watching her, resting in front of the portal; he nods.

DONATELLO  
There should be a power button on it.  
Press it.  
APRIL O'NEIL  
Me?  
DONATELLO  
I trust you enough.  
Just let me move out of the way first.

Donatello sits up and pushes his chair, rolling backwards on the wheels.

Everyone stands back from the laser as April turns and locates the power button; holding her breath, she pushes it.

Nothing.

Donatello chuckles weakly from his chair, turning into another coughing fit.

Casey Jones notices a computer flashing behind him and turns; leaning down, he sees words and numbers scrolling.

CASEY JONES  
Hey, it worked.  
The laser is powering up.  
We're at four percent and rising.  
DONATELLO  
It needs to draw power from the cores.  
Shouldn't take long.

The entire group, besides the resting Donatello, all watch the percentage climb; 15, 26, 42, 58...

Michelangelo chuckles when it reads 69.

MICHELANGELO  
That will always be funny.

Raphael rolls his eyes and noogies Michelangelo's head.

RAPHAEL  
Funny Mikey.

The percentage continues; 76, 84, 98...

They all turn to the laser.

RAPHAEL  
((quoting )Jurassic Park)  
Hold onto your butts.

A white dot on the lasers tip begins to shine, growing larger and larger; they shield their eyes.

Suddenly, a solid white beam shoots from the laser, right into the Saturn Glass; the rock shakes from the impact, but remains in the dish.

Slowly, it begins to glow bright purple; becoming brighter and brighter, casting the room in a purple haze.

Another beam launches out from the other side of the Saturn Glass toward the portal in a cone shaped beam; purple and pink sparks flash.

The room returns to its normal light; all look toward the portal frame, even Donatello is sitting up now.

Inside the frame, a large swirling purple oval fades into view; the face of it waving, like a stone being thrown into water.

They all stare at the million stars inside, bending and melting around the edges; disappearing in a swirl, only to be replaced by a million more.

LEONARDO  
Wow.  
DONATELLO  
Dimension X.

Standing, Donatello slowly walks over to the group.

DONATELLO  
We need to go in.  
Find out what's inside before Shredder does.

Leonardo looks to the portal, then to Donatello.

LEONARDO  
You up for it?

Donatello coughs, as if on cue; he wipes his mouth and nods.

APRIL O'NEIL  
You're only going to get worse, you realize this?  
Something's wrong with you.

Donatello looks to April.

DONATELLO  
I know, I can feel it.

Donatello turns back to Leonardo.

DONATELLO  
I can't stay back Leo.

Leonardo sighs, knowing this.

Donatello walks up to April, his eyes pleading; tears form on her eyes.

DONATELLO  
I need you to stay here April.  
To make sure this portal stays open.  
It's safer here.

A tear falls down Aprils cheek.

APRIL O'NEIL  
Damn it Donnie.  
We don't even know what's in there.  
DONATELLO  
But we need to find out.  
Before Shredder does.  
APRIL O'NEIL  
You can't even fight in your condition.

Donatello smiles faintly.

DONATELLO  
I'll have the guys with me.

April wipes her tears and looks to the portal; she nods.

RAPHAEL  
I'll stay behind Donnie, make sure Aprils okay here.

Donatello places his good hand on Raphael's shoulder.

DONATELLO  
Thanks.

Raphael stands next to April and puts his arm around her.

LEONARDO  
Okay guys. Let's get going then.  
I'll lead.

Leonardo walks up to the portal and stares inside; taking a few breaths, he smiles at the group.

Turning, he walks through and disappears.

Casey Jones steps up and walks through, following Leonardo.

MICHELANGELO  
Dang.  
He just straight up, walked right through.  
Like he does it all the time.

Stepping up to the portal, Michelangelo fist bumps Raphael.

MICHELANGELO  
One small step for turtles, one giant leap for...

He vanishes as Donatello steps up to the portal.

April carefully turns him around, giving him a medicine bottle; her eyes filled with tears.

APRIL O'NEIL  
Come back.

Donatello sighs, placing his pale forehead against hers, closing his eyes.

She feels his fever radiate through her.

April closes her eyes, tears falling; she lays her head on his shoulder and holds him tight.

DONATELLO  
I love you April.

April squeezes him tighter; trembling, crying.

APRIL O'NEIL  
I love you to Donnie.  
DONATELLO  
I always will.  
Remember that.  
APRIL O'NEIL  
No.  
Don't talk like that.

After a moment, Donatello turns from her and nods to Raphael.

Looking to the portal, he slowly walks through.

April watches as he disappears.

Wiping her tears, she turns and sees Raphael leaning back in a chair; hands behind his head, smiling.

RAPHAEL  
I knew it.  
DIMENSION X - DAY  
EXT. PORTAL EXIT  
Stepping through the portal, Donatello inhales the dusty crisp air.

Squinting from the dust, he sees trees and foliage wave in the breeze, all blue in color; the ground, rocky with red sand blowing around.

Donatello turns to the portal and sees the similar wavy reflection identical to the laboratory's.

Looking above the portal, Donatello's mouth opens; the vast red sky host four planets, all various sizes.

The largest, seemingly to almost touch the one he stands on.

Feeling weak, he sits on the rocky ground.

Focusing, Donatello faintly sees lights on the giant planet's surface' possibly civilization, cities.

He sits and watches the planet; from behind, he hears the group.

LEONARDO  
Donnie.

Donatello turns, coughing hard.

Leonardo and the rest stand in a small circle with their weapons on the ground; eight heavily clocked figures aim various weapons at them.

One motions to Donatello to join them; sighing, Donatello slowly stands and walks over beside Casey.

Casey helps Donatello remain standing as they all hear a ROAR and looks to the sky.

Coming through the tall trees, a large transport vehicle appears from the dusty air.

Lowering to the ground, Leonardo notices the vehicle has no wheels; it uses thrusters, and hovers above the ground.

A cloaked figure opens the back doors and motions the group inside; slowly, they all climb in and sit on the metal benches that line the walls.

INT. TRANSPORT VEHICLE - day  
Donatello leans against the wall, his vision blurs.

DONATELLO  
I need to rest guys.  
I'm sorry.

Slowly, he slumps to the bench and closes his eyes.

Donatello feels the weight of the vehicle lift up from the ground and rotate sharply; his body slides on the bench as the vehicle thrust forward in the air.

White dots appear on black from behind his eyelids; finally submitting, he passes out on the cool bench.

INT. POLICE CAR - MOVING - DUSK  
NORTH ROUTE 95  
Corey Williams glances at the sign reading; W.J. Gooding Bridge.

Watching the convoy, he pulls the police car around and accelerates.

Exceeding the speed limit, he passes the convoy and heads for the bridge ahead.

Soaring over the bridge, he watches the convoy further back approaching the bridge through his rear view mirror.

Pushing the petal down further, the police car burst across the bridge.

INT. GOVERNMENT CAR - MOVING - DUSK  
NORTH ROUTE 95  
BARRY WATERS, 36, CIA agent, looks out the windshield as the convoy approaches the bridge.  
Glancing out his window, he watches the trees disappear and open up to the large lake.

Glancing to his left, he looks to his partner,  
CHRIS FARMER, 28, CIA Agent; Chris' eyes are red from the long drive.  
BARRY WATERS  
Next rest stop, we can swap.  
You look beat.

Chris nods, driving over the bridge.

Suddenly, a massive explosion detonates in front, further down the bridge.

CHRIS FARMER  
Jesus!

The car's tires lock up as Chris slams on the brakes.

Swerving to a stop, Barry jumps from the vehicle.

EXT. BRIDGE - dusk  
Chris and Barry slowly walk forward.

As the smoke settles, they see a large portion of the bridge has fallen into the water; preventing them from moving on.

As both glance over the destroyed edge, a second explosion bursts from behind; looking back, they see another large portion of the bridge collapse behind the convoy.

CHRIS FARMER  
We're pinned!  
BARRY WATERS  
Someone's hittin' us.

Chris and Barry run to the back of their car and open the trunk, inside they grab weapons and begin loading out.

EXT. POLICE CAR - dusk  
SOUTH ROUTE 95  
Corey Williams leans on his car, waving traffic.

Parked with his police lights on at the exit before the bridge, he has cones and flares lit; motioning for vehicles to exit before driving to the bridge.

Looking back, he sees the large cloud of smoke over the tree line; smiling, he turns and continues to wave the traffic along.

EXT. BRIDGE - dusk  
Barry Waters throws his radio inside his car and slams the door.

BARRY WATERS  
Nothing.  
Radios are out.  
CHRIS FARMER  
Cell phones to.

Chris Farmer pulls back on his charging handle.

Hearing a vehicle accelerate, they both look across the bridge to the southbound lane; a large box truck is driving toward them.

Slowing to a stop directly across, they watch as a giant creature walks from the back, holding a large metal object.

Rocksteady holds the object above his head and slams it down on the inside concrete barrier; he jumps back inside the truck.

Barry and Chris watch the box truck pull ahead about one hundred feet and repeat the process.

CHRIS FARMER  
What the hell is that?

Barry watches the box truck drive away from them, he turns to Chris and shakes his head.

BARRY WATERS  
Tell everyone to take defensive positions.

As Chris runs off to warn the others, Barry sees another box truck speeding down the bridge; sparks fly from behind.

INT. REAR BOX TRUCK - MOVING - dusk  
Bebop holds on in the cargo bay of the box truck.

He feels the truck slow; the metal barrier from Rocksteady comes into view.

As the truck continues to pull ahead slowly, Bebop kicks a crate out, sliding it down the dragging ramp; it slides behind the barrier.

BEBOP  
Go!

A Foot Bot and Foot Soldier jump from the truck and position themselves behind the steel barrier.

Bebop pounds on the wall and the truck speeds up slightly, coming to the next barrier; Bebop repeats the process.

EXT. BRIDGE - dusk  
Barry Waters watches as the men jump from the truck and take their positions; squinting, he sees two barrels' slide into the slits.

BARRY WATERS  
Incoming fire!

Barry dives behind his vehicle as the gunfire begins to rain across, tearing the convoy to pieces.

Sliding up on the trunk, Barry aims his weapon and returns fire.

EXT. SOUTHBOUND BRIDGE END - dusk  
Bebop jumps from the empty box truck and looks around.

Rocksteady nods to him; loading his weapon from behind his box truck.

Smiling, Bebop walks into the woods.

EXT. LAKE BANK - dusk  
Quickly descending the hill to the lake, Bebop walks through foliage and sees the Zodiac Raft bobbing in the water.

Untying it, he jumps on the raft and uses a long pole to push from the edge; floating away from the bank, he throws the pole into the water and turns to start the engine.

Lowering the engine into the water, he begins to pull forward.

Looking up, he watches the continuing gunfire shoot across.

Turning, he begins to steer under the bridge; looking up to the concrete and metal beams holding the convoy up.

EXT. SOUTHBOUND BRIDGE END - dusk  
Rocksteady hears the gunfire slow and looks out from his cover; the entire convoy is smoking, swiss cheese.

Several people run around, firing at the Foot Soldiers from different covers.

Digging in his feet, he storms from the box truck and leaps over the gap to the standing bridge, south of the convoy.

Aiming his weapon, he puts two rounds into a woman's chest and drops behind a destroyed car; peering over the vehicle, he sees two agents firing at the Foot Soldiers several cars away.

Jumping to his feet, he runs toward them; slamming his shoulder into another vehicle.

Rocksteady grabs hold and tosses the vehicle at them; looking over, they see the vehicle too late and are crushed from the falling car.

Jumping onto a hood of an SUV, Rocksteady unloads through the windshield on a man trying to radio out for help.

Taking cover by a truck, Rocksteady drops his weapon and reaches for the sledgehammer on his back.

Two agents run from behind the convoy and he swings the giant hammer up; one man's head is crushed, while the other is thrown off the bridge from the impact.

EXT. ZODIAC BOAT - dusk  
Bebop watches the man fall into the water and surface.

Pulling out his pistol, Bebop aims and puts two rounds in the man's head.

The body slumps back and bobs in the water.

EXT. BRIDGE - dusk  
Charging, Rocksteady lowers his head and impales an agent with his horn.

He slams the body in a car and backs away; the gasping man looks down, holding his bloody wound.

Looking over, Rocksteady spots the cargo van and walks to the doors.

Grabbing the door handles, Rocksteady rips the doors open, tearing them from the hinges; a secured plastic crate rest on the floor, strapped down.

Smiling, Rocksteady reaches in and tears off the straps and picks up the crate.

Barry Waters and Chris Farmer take turns firing across and moving toward the center of the convoy.

Reaching a larger SUV, they turn and jump behind.

CHRIS FARMER  
We're sitting ducks.

Barry reloads his magazine.

BARRY WATERS  
Get to the cargo van.

Turning around the SUV, Rocksteady drives a large knife into Barry's chest; dropping him the ground.

Chris looks up at the swinging crate as it strikes him hard; he plunges from the bridge, into the water.

EXT. ZODIAC BOAT - DUSK  
Bebop watches as Chris falls into the water and aims his gun; waiting for his body to surface.

ROCKSTEADY  
(yelling)  
Hey!

Bebop looks up and sees Rocksteady holding the crate between the two bridges.

Holstering his gun, Bebop holds his arms up.

ROCKSTEADY  
(yelling)  
Don't let this fall into the water.

Bebop nods as Rocksteady releases the crate; it drops fast into Bebop's arms.

Setting it down, Bebop climbs to the engine and accelerates the boat; turning north up the lake.

Looking back, Bebop watches as Rocksteady runs toward another agent, swinging his hammer.

He smiles and looks ahead, steering the boat up the lake; toward the Congaree River.

EXT. BRIDGE - night  
As the final sun disappears, Rocksteady comes to the northern destroyed gap and smiles.

Running, he jumps and leaps across.

Just short, he slams into the broken edge and grabs onto the concrete; hanging over the water.

A bullet strikes the concrete near his face, spraying debris over him.

Looking over his shoulder, he sees an agent leaning over the hood of a car; swapping a magazine.

Suddenly, a throwing star strikes the agents face and he falls behind the vehicle; Rocksteady turns and see a Foot Soldier holding his arm out to him.

FOOT SOLDIER  
Need a hand?  
ROCKSTEADY  
Frank, you beautiful bastard!

Rocksteady laughs as the Foot Soldier helps him up to the bridge; turning, they looks over the destroyed convoy.

ROCKSTEADY  
Time to clean up.

Walking to a box truck, Rocksteady pulls out a device and flips the trigger switch.

The remaining bridge holding the convoy shutters from another series of explosions.

Collapsing into the lake; the entire convoy disappears underwater.

Rocksteady smiles as he slides the box truck door shut.

EXT. LAKE BANK - night  
Chris Farmer climbs up the muddy bank of the lake and lays in the weeds; rolling to his back, he inhales, catching his breath.

After a moment, he sits up to view the convoy; his eyes go wide, scanning the massive gap.

Looking down to the water; random debris is floating where the entire convoy collapsed in.

EXT. RIVER BANK - hour LATER - NIGHT  
Bebop jumps from the raft carrying the crate.

Walking up to a Jeep Wrangler, he throws the crate in the backseat and climbs into the driver's seat.

Starting the Jeep, he accelerates from the bank; heading into the Congaree National Park.

INT. LIMO - hours LATER - NIGHT  
BLYTHEWOOD, SOUTH CAROLINA  
Bebop opens the door of the limo and peers inside; Rocksteady and Corey Williams sit inside, each holding a beer.

Bebop slides the crate inside and climbs in.; smiling, he catches a beer thrown to him.

BEBOP  
I'm starting to think boostin' cars wasn't our calling.

Cracking the beer, he rests his feet on the crate.

The limo pulls out of the dark parking lot, turning north on route 77.

INT. BUNKER - NIGHT  
LABORATORY  
April O'Neil is sitting in a chair when her phone dings; holding it up, she reads the alert.

She looks up at Raphael resting on a table, wiping his sai with a rag.

APRIL O'NEIL  
A government convoy was just destroyed in South Carolina.  
Some kinda attack on a bridge.

Raphael sits up and looks to her grim; he shakes his head and glances at the portal.

RAPHAEL  
C'mon guys.

April pulls out a Turtle Com.

APRIL O'NEIL  
(into turtle com)  
Anyone there?  
Leo?

The Turtle Com stays silent; sighing, April throws the Turtle Com on a table as she stands and stretches.

APRIL O'NEIL  
I'm gonna go to the cafeteria and look for a bottle of water.  
I think Michelangelo said he saw some.  
RAPHAEL  
Want me to come?

April shakes her head.

APRIL O'NEIL  
I'll look for something to eat to.  
RAPHAEL  
We could order a pizza and tell the dude to just drop it down the elevator shaft.

April laughs as she heads for the stairs.

DIMENSION X - DAY  
EXT. ABANDONED CASTLE  
Michelangelo jumps from the hovering transport vehicle and looks up.

Above him, a massive destroyed castle stands, grown over with vegetation; birds fly around a broken pillar in the center.

MICHELANGELO  
Whoa.  
Looks like Lord of the Rings.

Turning, he helps support Donatello with Casey Jones.

Leonardo comes out last and looks around; he turns to a cloaked figure, holding a bag with their weapons and gear.

LEONARDO  
Where are you taking us?  
CLOAKED FIGURE  
Follow.

Donatello raises his head to the castle for a moment, then closes his eyes and lets his head slump back down.

INT. ABANDONED CASTLE - DAY  
The group follows the cloaked figures inside the ravaged building; nature has grown into the structure and taken hold.

Light shines from large, painted glass windows; broken and faded.

Furniture is scattered, destroyed and thrown around.

Heading to an interior stairwell, they begin descending to another floor.

CORRIDOR  
Walking down a long corridor, the group look into multiple rooms; matching the same condition as the rest of the building.

Coming to the end, they enter a large room used for dining; a strong wooden table still stands in the center of the destruction.

DINING ROOM  
A cloaked figure approaches a large fireplace and rubs his gloved hand along the wall; finding a hidden switch.

Pressing it, the interior wall of the fireplace slowly slides up; the cloaked figures duck and walk over the charred logs.

When the group ducks through to the other side, Donatello watches the wall slide back down, behind the fireplace.

Turning, he sees this room is in significant better condition; tables line the walls with decorations and candles.

CORRIDOR  
Walking down another corridor, they enter a large sky lighted room with a table.

Around the table, hovering pod shaped seats float.

MEETING ROOM  
Slowly, the group walk into the room, looking to the high ceiling; a round skylight is slightly covered by vines.

Many rooms branch off through closed doors.

CLOAKED FIGURE  
Sit.  
LEONARDO  
We have someone injured.  
Do you have a doctor or medicine?

The cloaked figure turns to watch Donatello slump into his seat and lay his head down on the table.

Turning to another cloaked figure, he nods his head and motions to Donatello.

The other cloaked figure nods and turns for Donatello; Michelangelo and Leonardo step in front.

LEONARDO  
What are you doing?

The cloaked figure raises its arms defensively and speaks in a woman's voice.

CLOAKED WOMAN  
Medicine.

Leonardo studies her for a moment and nods, stepping to the side.

The cloaked woman approaches Donatello and slides off her glove; the humanoid four fingered hand feels Donatello's forehead, she shakes her head.

Donatello leans back, looking up at her as she reaches into her cloak and pulls out a firm, one foot rolled up piece of plastic.

Donatello tries to focus on it as she unravels the plastic, turning the screen turn on.

She selects a medical icon and the plastic switches displays to an x-ray scanner; vitals and diagnostics scroll in the corner.

Waving the screen over Donatello's, she scans his body; Casey steps forward, watching the image over her shoulder.

CASEY JONES  
Donnie, you would love this thing.

The cloaked woman stops scanning, pointed straight at his damaged hand; she slowly shakes her head, reading the data.

Letting the screen roll back up, she stows it away.

Turning, she motions to two cloaked figures and they come forward and carry Donatello out of the room.

LEONARDO  
What's going on?  
Where are you taking him?

The cloaked woman turns to him as she takes off her goggled head mask.  
KALA, 19, Neutrino rebel, throws her mask to the table and pulls off her cloak.  
She wears shimmering green armor, trimmed with blue.

Her bright orange hair looks to be metallic; spiking up in three sections, all slightly pointed forward.

A small portion in front curls; forming a swirl on her forehead.

KALA  
Your friend is going to die.  
Unless we stop the infection and give him treatment.

Leonardo stares at her for a moment.

LEONARDO  
Thank you.

Kala nods and turns, heading to the room Donatello was carried into.

VOICE  
(from behind)  
Kala knows her stuff.

The group turns and see most of the cloaked figures are now standing in their matching armor; all have different styles of the metallic hair.

Matching Kala, they all have four fingers per hand, with pointed noses and ears; the tallest of them stands around five feet.

DASK, 22, Neutrino rebel leader, is hanging his cloak on a hook, his armor is yellow, trimmed in purple; his matching purple hair points up on the sides and the rest swoops forward, forming one large point sticking out in front of his forehead.  
Michelangelo leans to Casey.

MICHELANGELO  
(whisper)  
How much hairspray you think?  
Like two, three cans a day?

As Dask turns and walks forward, they notice his right arm is completely cybernetic from the bicep down; the metal gleams white.

DASK  
Please sit.  
We are not the enemies.  
CASEY JONES  
Where are we?  
DASK  
You are on planet Neutrine.  
It is located inside what you would call the Andromeda galaxy.  
Michelangelo  
Oh great.  
We walked inside a shitty Mass Effect game.

Dask motions to the table.

DASK  
Please.

The group turn and sit in the hovering pods; Michelangelo pushes off the table and spins himself around in a circle.

Dask walks forward and sits on the end of the table, he looks to each of them.

DASK  
We have been watching the location where you appeared for many years now.  
You are of Earth correct?

Dask smiles as they all nod simultaneously.

DASK  
I am Dask, leader of this outpost.  
We are called Neutrinos.  
(waving across the room)  
This is a small part of the Neutrino rebellion.

They all stare at him for a moment.

CASEY JONES  
What are you rebelling from?  
ZAK, 20, Neutrino rebel, steps forward; larger than the rest, he wears blue armor trimmed with yellow.  
His bright red hair swoops back, forming many points in the rear; He wears red goggles over his eyes.

ZAK  
Extinction.

Dask sighs and turns to Zak, nodding slowly.

DASK  
A long time ago, to avoid a war, the Neutrinos made an agreement with a race known as the Utroms.  
To spare lives, we would supply the Utroms with a substance known to mutate species.  
MICHELANGELO  
The green stuff?  
Dude, that's how we came to be.

Dask faintly smiles.

DASK  
I assumed.  
You don't look very Earth-like.  
(Dask points to Casey)  
He does, if I recall.

Casey leans back, giving a quick wave.

DASK  
The mutagen is unique to this planet; it flows from the ground and pools.  
Powerful stuff, many things can be done with it.  
LEONARDO  
What happened with the Utroms?  
DASK  
The supply went on for many years; until our most recent king learned the Utroms used the mutagen on a peaceful allied planet.  
He was sick, and furious.  
He ended the agreement.  
CASEY JONES  
Pissed them off I bet?  
ZAK  
Once the leader of the Utroms, Lord Krin, learned of it; he sent his armies here to destroy the Neutrinos.  
His ships descended on our planet and destroyed anything they could target.  
MICHELANGELO  
Was this about thirty-five years ago?  
Earth had footage of an invasion.

Dask sighs.

DASK  
Not quite.  
They've been attacking us for one hundred and seventy-five years now.

Michelangelo frowns.

LEONARDO  
Time is slower here though.  
Donnie said, five to one or something.  
DASK  
Then your thirty-five years match up.  
CASEY JONES  
You've been fighting for almost two hundred years?  
ZAK  
Correct.  
LEONARDO  
And you were there from the start?  
DASK  
We do not age the same.  
I am six hundred and thirty-two years of age.  
MICHELANGELO  
Well, you look fantastic.  
ZAK  
That is relatively the age of your teenagers for us.  
CASEY JONES  
How do you know so much about Earth?  
DASK  
We've had teachings of your world.  
LEONARDO  
So, that footage was the invasion.  
Earth did had people here when that happened.

Dask and Zak smile at each other briefly.

DASK  
Indeed, they did.  
ZAK  
We've been fighting the Utroms ever since.

Dask nods, leaning back in his chair.

DASK  
And losing.  
The Neutrinos are a peaceful race, we never had wars before.  
I was a fisherman, Zak here was a mechanic.  
ZAK  
Now I'm forced to make small explosive devices and repair our 'military' vehicles.  
DASK  
We can't fight the Utroms head on, they are strong.  
We perform surprise attacks and retreat before we're overwhelmed.  
MICHELANGELO  
Are you making any progress?  
KALA  
No.  
We are dying.

They all turn and see Kala standing in the room.

KALA  
We cannot match their military.  
The Utroms use their mutated Rock Soldier army to decimate us.  
They outnumber us twenty to one.

Dask types into a device on his wrist and an image of a Rock Solider projects in the center of the table; spinning.

DASK  
The Rock Soldiers are led by General Traag.  
A real monster.  
MICHELANGELO  
We've seen footage of these.

Kala walks forward and stands beside Dask.

DASK  
This is Kala, once a farmer; she now specializes in medical attention, food crops, and long range weaponry.  
KALA  
Your friend will be okay.  
He is getting the help he needs.

Leonardo smiles and lowers his head; relieved.

DASK  
So there you have the short version.  
The Neutrinos are in hiding and losing.  
We have few fighters left, but, what could we expect; the Neutrinos were not built for war.  
ZAK  
But we are still alive.  
CASEY JONES  
That's the spirit.

Leonardo turns to Dask.

LEONARDO  
We have a man from our planet.  
He's trying to come here using another portal and attain weaponry.  
Sounds like he'd be good friends with these Utroms.

Dask frowns.

MICHELANGELO  
That's why we're here.  
We wanted to try and stop him before he does it.  
KALA  
We can offer our help, but I'm afraid we cannot do much.  
DASK  
We are currently planning something we've been working on for along time.  
Perhaps after, we could shift our focus on this man you speak of.

Leonardo nods.

CASEY JONES  
You were waiting for us at the portal.  
How did you know?

Dask smiles and shakes his head.

DASK  
Mondo told us you would be there.  
It seems I've lost a very old bet.  
INT. TENT - NIGHT  
BRIDGE  
Chris Farmer sits at his makeshift desk inside the field tent, listening to his phone.

Glancing outside, he sees multiple agents scanning over materials pulled from the lake.

CHRIS FARMER  
(into phone)  
Yes sir.  
If I had to guess, it looked like a rhinoceros.

Chris sighs, laying his head in his hand, listening.

CHRIS FARMER  
(into phone)  
They were operating out of a small house near the lake.  
We found three bodies.

Chris looks up to the ceiling; annoyed.

CHRIS FARMER  
(into phone)  
I understand.  
I just did one two weeks ago.

Chris listens a bit longer and hangs up; he tosses his phone on the desk.

Glancing up, he sees an agent standing in the doorway.

CHRIS FARMER  
Can you find me the closest drug testing facility please?

The agent nods and steps outside.

Chris leans back in his chair and looks at the files scattered on his desk; picking one up, he reads the text along the edge:  
CIA Eyes Only - Saturn Glass PDX.  
Opening the folder, he combs over the pages, trying to get a sense of the situation; he flips the page and finds an image of the portal inside the M.I.T. hidden bunker.

Reaching for his phone, he dials a number.

CHRIS FARMER  
(into phone)  
Hey Steve, it�s Chris.  
Can you do me a favor, bring up the power grid data at our M.I.T. facility for the last month and do a quick analysis.  
I'll wait.

Chris reaches forward and takes a sip of his cold coffee; glancing outside, he sees a tow truck pulling up a destroyed SUV onto its flatbed.

He suddenly listens to the phone very intently.

CHRIS FARMER  
(into phone)  
When, today?

Chris stands up, listening to the phone.

CHRIS FARMER  
(into phone)  
That facility has been down for years, if it had a power surge; someone's there.  
Call Boston HQ and have them send a unit.  
And Steve, make sure they are ready for a fight.

Chris hangs up the phone and grabs his coat from the chair.

EXT. TENT - NIGHT  
BRIDGE  
Chris walks outside and looks over at the bridge; a large crane is hoisting a vehicle from the lake.

Two boats float around, looking into the wreckage.

Agents are scattered everywhere looking for clues.

CHRIS FARMER  
I need a chopper!

An agent looks up from a table of bullet casings, he points behind Chris; down the road.

Chris turns and see the helicopter sitting on the highway; powered down.

INT. BUNKER - NIGHT  
CAFETERIA  
April O'Neil opens a cabinet inside the cafeteria and looks around; only a few plastic containers are piled inside.

Sighing, she closes the door and moves on.

Opening another, she smiles and pulls out two cans of canned fruit.

Dropping the cans inside the plastic bag she found, she looks down at the dusty bottles of water and three MRE's she'd found earlier.

Content, she heads for the door.

HALLWAY  
Turning for the laboratory, she slowly walks down the now lit corridor.

Passing the branching hallway, she hears a slight sound and stops; she turns to the elevator shaft further down the branching hallway.

Squinting, she stares inside the shaft for a moment, then, she sees it; just briefly, a beam from a flashlight waves across the interior wall.

Eyes wide, she turns and quietly runs to the laboratory.

LABORATORY  
Jumping down the stairs, April points frantically behind her.

APRIL O'NEIL  
Someone's coming down the elevator shaft.

Raphael stands from his chair and runs up the stairs.

RAPHAEL  
Stay here.  
HALLWAY  
Raphael quietly runs down the hallway pulling out his throwing stars.

Quickly, he flings three, one after the other; taking out three lights above the branching hallway.

Sliding to the ground, he peers at the elevator from the now dark corner.

After a moment, he sees the black combat boot come into view; sliding down Donatello's rope.

Watching, he sees the legs, gun barrel, and finally the man's armored head; the soldier quietly steps to the floor.

Another boot appears from the rope as Raphael slides away from corner; turning, he runs back to April.

LABORATORY  
Raphael jumps over the railing, down to April.

RAPHAEL  
It's military.  
I think.  
APRIL O'NEIL  
Uh... not good.

Raphael pulls out his sais and twirls them.

APRIL O'NEIL  
Put those away, Shredder.  
They're just doing their job.

Raphael shrugs and stows his weapons.

RAPHAEL  
What's your plan?  
Hide under a desk?

April turns and looks around. Quickly, she gathers up all of Donatello's files and equipment and throws them into the box from Perry.

Stopping, she reaches up and grabs the Turtle Com from the table and drops it inside; placing the lid on.

RAPHAEL  
What are you doing?

April stands with the box and walks over to the portal.

She throws the box through and grabs the plastic bag of items she found; throwing them through as well.

She turns to Raphael.

APRIL O'NEIL  
We are leaving.

Raphael points to the portal.

RAPHAEL  
In there?

April nods, looking around for anything else she missed.

RAPHAEL  
What if they chase us through?  
What about the Saturn Glass?

April thinks, looking around.

She looks at the ceiling above the Saturn Glass and turns, searching the ceiling further down in the laboratory.

APRIL O'NEIL  
How good is your aim with the throwing stars?

Raphael chuckles.

RAPHAEL  
I mean, I don't like to brag, but I just popped three lights upstai...  
APRIL O'NEIL  
Raph!

Raphael snaps out of it.

RAPHAEL  
Name it, I hit it.

April nods, glancing at the laboratory's door up the stairs.

Turning, she points further down the laboratory to the ceiling.

APRIL O'NEIL  
Hit that sprinkler.

Raphael turns and sees the sprinkler head far down the room.

Grabbing a throwing star, he whips the star and strikes the sprinkler; water flows out in a small ring, soaking an old computer and desk.

APRIL O'NEIL  
Okay, good.

Raphael looks at her confused as she turns again, pointing above the laser.

APRIL O'NEIL  
There is another sprinkler right above the laser.  
Run into the portal as soon as you hit that one; the water will spray out and destroy the Saturn Glass.

Raphael looks above the laser at the sprinkler, nodding.

RAPHAEL  
Okay, I get it.  
And I'll have time to get through, before the portal closes?

Raphael turns and finds April has already gone through the portal; he rolls his eyes, shaking his head.

Glancing up the stairs, he sees the barrel of a weapon slowly coming through the laboratory door.

RAPHAEL  
(to himself)  
Hope we can get home.

Turning, he grabs a throwing star and runs at the portal.

As he jumps toward the purple surface, he rotates in the air and throws the star.

DIMENSION X � DAY  
EXT. PORTAL EXIT  
Raphael jumps through the portal, rolling to a crouched position facing away from the portal.

His hands rest on the rocky ground.

APRIL O'NEIL  
Did you get it?

Raphael looks over his shoulder as the portal sparks pink and purple; slowly it fades away.

RAPHAEL  
Yup.

Raphael turns and smiles at April, who is holding the items she threw into the portal.

Looking past her, Raphael's smile fades; April sees his expression and turns around.

Stepping out from the trees, a cloaked figure walks through the blue foliage; holding a weapon towards them.

INT. SHREDDERS DOWNTOWN BUILDING � NIGHT  
SHREDDERS OFFICE  
Shredder is sitting at his desk, going over papers when he stops and looks down; his leg is bouncing in anticipation.

Glaring, he stops his leg and leans back in his chair.

Reaching forward, he dials a number and waits for it to pick up.

BEBOP  
(over speaker)  
Yeah boss?  
SHREDDER  
Where are you currently at?  
BEBOP  
(over speaker)  
Just outside D.C.  
We got about four hours.  
SHREDDER  
Excellent.  
Thank you.

Shredder disconnects the call and stands, pacing in his office;he stops and heads for the door.

PORTAL ROOM  
Baxter Fly is hovering around the room, holding a schematic and screwdriver.

He sees Shredder enter and drops to the floor, walking to his desk.

BAXTER FLY  
Problems?

Shredder shakes his head as he approaches the desk.

He glances at the portal, ready to use.

SHREDDER  
Your combat Foot Bots did well.  
Rocksteady said they performed perfectly.

Baxter Fly scoffs.

BAXTER FLY  
Of course they did.

Baxter Fly grabs some wiring and hovers to another table.

BAXTER FLY  
Another design for you.

Shredder walks to the table and watches Baxter Fly strip the end of a wire.

Resting on the table, a three-foot robot lays on its side.

The head is a curved half circle with a seam down the middle; its attached to trapezium body; a single wheel attached to the smaller end of the body seems to be the mode of travel.

BAXTER FLY  
The RR-87  
SHREDDER  
What is its purpose?  
BAXTER FLY  
If we attain the Dimension X technology, I wouldn't be able to house the tech inside my Mousers; they are too small.  
These give us a slightly bigger chamber to utilize, but retain mobility.

Shredder nods as he looks over the robot.

SHREDDER  
I see.  
And these will be able to survive better against the turtles?  
BAXTER FLY  
If they are still alive, yes.  
SHREDDER  
They do.  
The news would have covered giant turtle bodies being found at the warehouse.

Baxter Fly shakes his head and returns to his work.

BAXTER FLY  
They haven't bothered us in some time.  
SHREDDER  
That's what has me concerned.  
They are up to something.

Baxter Fly lifts open a flap on the robot's chest and pulls a slim steel cord with a pointed edge out about two feet.

BAXTER FLY  
Wait till they meet this baby.

Baxter releases the cord and it quickly retracts back inside the chest; the flap slamming shut.

DIMENSION X - DUSK  
INT. ABANDONED CASTLE  
WEAPONS ROOM  
Donatello is facing a window, twirling his bo staff in circles.

Outside, he looks to the tall rocky mountains pointing to the dark red sky, yellow clouds slowly move past.

Looking down, he inspects his hand; two fingers, two thirds of his palm, and a section of his wrist and forearm are now robotic.

They gleams white; built from a strange metal.

He squeezes his hand shut and opens it.

KALA  
You look much better Donatello.

Donatello turns from the window and sees Kala standing in the room.

DONATELLO  
I feel great.  
It's amazing.

Kala smiles and nods.

KALA  
You had severe damage, you know this.  
We had to remove all the damaged tissue and rebuild the hand.

Donatello walks over to her.

DONATELLO  
I don't even notice it; it just feels like my normal hand.  
KALA  
Good, that was our intention.  
We fused the metal to your remaining tissue and bone.  
It should last well over three hundred years before needing inspected again.

Donatello nods and looks at the white metal.

KALA  
We gave you fluids to heal your wounds quickly and stop the infection.  
You were lucky.  
DONATELLO  
Thank you. You saved my life.  
I actually came here thinking I was going to die.

Kala frowns as Donatello looks down to his hand.

DONATELLO  
What is this material?  
KALA  
It is called Likfon.  
It is a made from a mutagenetic chemical reaction with what you call Iron and Tungsten.  
DONATELLO  
The mutagen can mutate nonliving things?

Kala nods, smiling.

KALA  
If you understand how.  
For instance, to create Likfon, there must be a strong electrical current applied to the two metals.  
If the two metals are in contact with mutagen, they will have a chemical bond and become Likfon.  
DONATELLO  
That's really cool.  
KALA  
Yes, that is why we have so much of it.  
Our planet has severe electrical storms; they cause many lightning strikes.  
After a storm, we send units out to mine the fresh Likfon.  
DONATELLO  
So you have an endless supply of Likfon?  
KALA  
We used to.  
The Utroms have stripped many of our resources for their own.  
We have turned to our scientist to recreate the bond, here in our labs.

Donatello runs his finger over the gleaming white metal.

KALA  
We use Likfon for our armor and weapons.  
It is very strong, yet lightweight.  
DONATELLO  
I'd like to see your scientist bond the metals, if that's okay?  
KALA  
Of course. I will ask.

Donatello looks around the room.

He notices the many weapons and armors on the tables, shelves, and cabinets; they all gleam white.

KALA  
Your friends are in the meeting room, would you like to see them?

Donatello smiles and follows Kala out of the room.

MEETING ROOM  
Kala and Donatello step into the meeting room and see Dask, Zak, Leonardo, and Casey Jones sitting at the large table.

Michelangelo is at a smaller table, picking through different foods.

Looking up, Michelangelo smiles and runs over to Donatello.

MICHELANGELO  
Bro, you look great.  
DONATELLO  
Yeah, check it out.

Donatello holds his hand up and shows off the robotic hand as Kala sits at the table.

Michelangelo's eyes go wide.

MICHELANGELO  
That is the coolest thing ever.

Donatello nods.

Michelangelo  
Dude, if anyone ever swings a weapon at you, you gotta stop it with this hand,  
(mimicking grabbing weapon)  
when they see the metal, you look up at them and say,  
(dramatic)  
'yeah.'  
DONATELLO  
Give'em the ol' Will Smith I,Robot?

Michelangelo nods.

DONATELLO  
So what have I missed? Michelangelo turns to the table.  
MICHELANGELO  
We had a quick history lesson earlier.  
Apparently, some Earth soldier got left behind in eighty-four, they closed the portal on him and he's been here ever since.  
Get this, for almost two hundred years.

Donatello and Michelangelo sit at the end of the table as the conversation continues.

LEONARDO  
Wait, his James Jordan, he's still alive?  
How is that possible after two hundred years?

Dask smiles.

DASK  
The mutation slowed his aging.  
LEONARDO  
You mutated him?  
ZAK  
He asked us to.  
DONATELLO  
Why?

Everyone turns to see Donatello, Leonardo leans toward him and grasps his hand, smiling.

LEONARDO  
Hey man.  
DONATELLO  
Sup.  
DASK  
James Jordan was instrumental with helping us fight the Utroms.  
His military background gave us new techniques and strategies we would have never thought of.  
His only weakness...

Dask looks to Casey.

DASK  
I mean no disrespect friend; his only weakness was his body.  
The human is no match for the Utroms or Rock Soldiers.  
KALA  
One day Jordan came to us and asked if we could mutate him with something from this planet, to give him an edge.

Zak laughs, thinking back.

Dask begins to smile as well.

DASK  
We gathered several different species for him to pick from.  
All ranging in ferocity and strength.  
MICHELANGELO  
What did he pick?  
ZAK  
(shaking head)  
A small garden lizard from the courtyard.  
Called a Mondoliskis.  
DASK  
We were, of course, shocked by his decision.  
But after the mutation, he began to show us why he made this choice.  
DONATELLO  
It had special traits.  
KALA  
That's correct.  
The ability to camouflage, night vision, and adhesive toe pads to give him the ability to climb structures.  
DASK  
He chose such a simple creature, yet he understood how it would help him fight alongside of us.  
Very wise.  
KALA  
A Mondoloskis can live for many centuries.  
This is how he still lives.  
DONATELLO  
And we age similar to humans, because the standard pet turtle can live up to one hundred years.  
MICHELANGELO  
So Baxter should be dead by now, right?  
Three days for a fly, isn't it?

Leonardo and Donatello both smile.

DONATELLO  
That's without food.

Dask stands from the table and walks toward the food on display.

DASK  
James Jordan is now known as Mondo.  
You will meet him soon I hope, he is currently out on a recon mission.  
KALA  
He will very excited to talk to you.

A Neutrino soldier enters the room and walks to Dask.

Leaning, the soldier whispers into Dask's ear, then turns for the door.

Dask throws a piece of food in his mouth and turns to the table, smiling.

DASK  
Exactly how many mutated turtles are there?  
INT. BUNKER - NIGHT  
LABORATORY  
Chris Farmer leans down on the floor and studies the throwing star; looking to his folder, he notices the style is different compared to the throwing stars found at the bridge.

Using his pen, he slowly spins the throwing star on the floor as he looks up and sees the broken sprinkler head.

Standing, he turns to watch the many agents scanning the room; several are inspecting the portal and others are dusting the room for finger prints.

An agent walks up to him and hands him a folder; he opens the folder and views a picture of April O'Neil and another picture of her van parked outside the shack.

Reading through her short bio, he sighs and closes the folder; dropping into a chair.

CHESTER WILLMORE, 57, Boston CIA Director, walks down the stairs and sits on a table beside Chris.  
CHESTER WILLMORE  
I'm sorry about Barry, Chris.

Chris nods slowly as Chester looks around the room.

CHESTER WILLMORE  
Until we understand this better, I asked for a patrol to be sent to your home.  
I know Becky is due soon, right?  
CHRIS FARMER  
Yeah, two months away already.  
Thank you.  
CHESTER WILLMORE  
So, what are you thinking?  
CHRIS FARMER  
I don't know.  
We got the Pittsburgh attack, the bridge, now this.  
This looks like the Foot Clan, but we're not sure yet.  
CHESTER WILLMORE  
And the girl?  
CHRIS FARMER  
She was down here, we have her prints.  
We sent agents to her parents house; no sign of her yet.  
CHESTER WILLMORE  
Think she went into the portal?

Chris turns and looks at the portal.

CHRIS FARMER  
If she did, I have no idea how she got Saturn Glass.  
Couldn't have been from the bridge; it was practically the same time, in two different states.  
CHESTER WILLMORE  
These are the original satellite power cores though.  
Not the ones from Pittsburgh?  
CHRIS FARMER  
Yeah.  
But, we'll be able to detect if anyone starts to use the new cores.  
They need to draw a significant amount of power to be functional.

Chester Willmore nods slowly, watching the room.

Sighing, he reaches into his coat pocket; he lays a urine sample cup on the table and stands.

CHESTER WILLMORE  
Sorry about this, comes from above.

Chris Farmer sighs, staring at the cup.

CHESTER WILLMORE  
There's a bathroom down the hallway.  
Knock it out and get back to work.  
DIMENSION X - NIGHT  
INT. ABANDONED CASTLE  
SLEEPING QUARTERS  
Zak stands with the group in front of hovering bed.

The room host many similar beds, each hovering.

ZAK  
Nothing to it really, just back up to it and sit down; then swing your legs into it.  
It took Mondo three tries; I think, it was along time ago.

Casey Jones bounces the bed up and down, testing its strength, slowly, he sits down.

After the bed settles, he swings his legs up and the bed tips to the opposite side; spilling him onto the floor.

CASEY JONES  
That's one.  
ZAK  
Just repeat that, but in one motion, you took too long.  
The thrusters were adjusted to your weight on this side because you sat for a bit.  
When you swung in, they couldn't adjust back in time.

Leonardo sits on the bed and swings his legs up; wide eyed, he waits.

Zak smiles.

ZAK  
You got it.

Dask and Kala enter the room, they both smile.

KALA  
Always fun to watch new people try the beds.  
CASEY JONES  
Yinz just missed me eat it.  
DASK  
Who is Yinz?

Casey shakes his head.

CASEY JONES  
It's sorta, an accent where I live.  
Means like, 'you guys'.  
DASK  
Ah, well... yinz have visitors.

They all smile at the usage and follow Dask out of the room.

Leonardo remains in the bed.

LEONARDO  
(yelling)  
How do I get out!  
MEETING ROOM  
As the group walk into the room, they hear people talking.

APRIL O'NEIL  
Donnie!

Donatello turns and sees April running up to him, she hugs him and he picks her up; spinning her.

APRIL O'NEIL  
You look so much better.  
DONATELLO  
Yeah, they fixed me all up.  
Look.

Donatello holds out his new hand and she takes it in hers; looking it over.

Across the room, Raphael is being introduced to Dask.

CASEY JONES  
This is Dask.  
He's the leader of this outpost.

Raphael turns and shakes Dask's hand.

RAPHAEL  
Hey, I'm really sorry about the guy at the portal.

Dask smiles and waves his hand.

DASK  
No need to apologize.  
They say he has just woken up.  
RAPHAEL  
Oh good, good.

Kala walks up, hearing the conversation; she turns to Dask.

KALA  
What happened?

Raphael turns and stares at her, his mouth opens slightly; seeing her beauty.

RAPHAEL  
I... uh.  
DASK  
He overtook Lazz.  
Knocked him out.

Dask smiles as Kala looks at Raphael.

KALA  
I trained Lazz.  
Impressive.

Raphael just stares at her; Kala smiles.

RAPHAEL  
Tha... thanks.

Kala nods at Raphael and walks away; turning to look at him over her shoulder.

April runs her fingers across the white metal and looks to Donatello.

APRIL O'NEIL  
Did it hurt?

Donatello shakes his head.

DONATELLO  
Not at all.  
Kala gave me some pill that numbed my entire body; I didn't feel a thing.  
They put me on fluids and began removing all the dead or dying tissue.  
After that, they completely rebuilt this robotic hand; fusing it to all the existing bone, muscle, nerves, everything.

Aprils nods slowly, looking at the metal hand.

APRIL O'NEIL  
Wow.  
Who's Kala?

Donatello shakes his head and rolls his eyes; brushing a strand of hair behind her ear.

April smiles and places her head against his.

Raphael comes from behind and hugs them both.

RAPHAEL  
Back from the dead huh?  
Hey, just so you know, it was her idea to destroy your rock.  
All hers.

Raphael laughs and walks away as Donatello looks at April confused.

APRIL O'NEIL  
I dissolved your Saturn Glass.  
Don't be mad.

Raphael walks around, inspecting the massive room.

RAPHAEL  
Man this place is alright.

He begins to look in different doors.

RAPHAEL  
Where's the kitchen?  
I haven't eaten in a while.  
I'm star...

Raphael leans inside one of the doors.

SLEEPING QUARTERS  
Raphael walks inside the room and peers into a bed.

LEONARDO  
Hey Raph.  
RAPHAEL  
What are you doing?  
LEONARDO  
I'm stuck.

Raphael walks forward and steps on the beds edge; spilling Leonardo to the floor.

Raphael looks down smiling.

RAPHAEL  
There ya go.  
INT. SHREDDERS DOWNTOWN BUILDING - NIGHT  
MEETING ROOM  
Shredder and Baxter Fly watch was Rocksteady and Bebop walk into the room and lay the plastic crate on the table.

Rocksteady rips the padlock from the front and unsnaps the latches.

Lifting the lid; he reaches in and pulls the small metal case from the foam cushion.

Turning the metal case, he slides it to Shredder.

SHREDDER  
You both have done well.  
I thank you.

Shredder opens the metal case and stares at the five pieces of Saturn Glass; sitting in small foam inserts.

Shredder is holding a rock to the light, inspecting the color as Rocksteady pulls out a rock and looks it over.

ROCKSTEADY  
All this fuss over these little gems huh?

Baxter Fly hovers over and takes the rock from his hand.

BAXTER FLY  
These gems, are what opens the portal.

Shredder places his rock back in the case and looks to Baxter Fly.

SHREDDER  
What is our timeframe?

Baxter Fly thinks it over.

BAXTER FLY  
A few hours.  
We need to let the cores build up enough power to operate the laser.  
We need to go slow, to avoid blacking out the city.

Shredder shakes his head.

SHREDDER  
And why haven't we been doing this already?

Baxter Fly looks down.

BAXTER FLY  
I wanted to make sure we had the Satu...  
SHREDDER  
We have had the glass in our possession for hours.  
Inexcusable.  
BAXTER FLY  
I apolo...  
SHREDDER  
Never mind your apologies.  
Begin powering the cores.  
Wake me when you are ready to begin.  
Bebop, Rocksteady; help with whatever he needs.

Shredder turns and leaves the room.

Bebop and Rocksteady look to Baxter Fly.

BEBOP  
What'ya need Goldblum?  
DIMENSION X - DUSK  
INT. ABANDONED CASTLE  
SLEEPING QUARTERS  
Michelangelo slowly opens his eyes.

Carefully sitting up, he looks around; everyone is still sleeping in their hovering beds.

Glancing to a window, he sees the first sign of light.

Pulling out his headphones, he sniffs the air and looks around.

MICHELANGELO  
(to himself)  
Can't be.

Michelangelo climbs from his bed and stands; he walks quietly toward the door.

MEETING ROOM  
Peering outside, Michelangelo smells the air again; slowly, he walks from the room and closes the door.

Turning, he sees large pizzas sitting on the table, steam still rising.

The crusts are golden brown with a green sauce instead of red, small circles of white meat lay over melted yellow cheese.

MICHELANGELO  
No way.

Walking up to the table, Michelangelo leans down and smells the food.

MICHELANGELO  
Yes way.

Quickly, Michelangelo grabs a slice and begins eating it; moaning with delight.

VOICE  
(from behind)  
Oh good, you do like pizza.

Michelangelo turns and see a large green lizard holding two more pizzas.

MONDO, 27, mutated James Jordan, smiles at him.  
Wearing only armored yellow Neutrino pants trimmed with white; his muscular chest and arms host a green beaded textured skin with orange spots splattered; forming a pattern along his back.

Long black hair sits under a backwards, faded, purple LA Lakers trucker hat.

Mondo smiles at Michelangelo and turns to set the pizzas on another table; his long tail swings around, dragging on the floor.

MONDO  
I taught them how to make it.  
Pretty tight, right?  
MEETING ROOM - LATER - DAY  
The rest of the group, now awake, sit around the table; eating pizza with Mondo.

Full from breakfast, Mondo sits back and looks around.

MONDO  
Man, this is so surreal.  
LEONARDO  
I can't even begin to imagine.  
Being here for all this time, meanwhile back on Earth, time has only passed very little.  
MONDO  
It does mess with your head at times.  
I've had many, many years to grasp it though.  
This is my home now.  
APRIL O'NEIL  
What about your family?

Mondo smiles, shrugging slowly.

MONDO  
I've nearly forgotten what my parents even looked like; it's been so long.  
I do remember being a jerk to them growing up; I regret that.  
The Neutrinos are my family now.

Mondo looks to his plate as the group falls silent.

MONDO  
Anyway, enough of this sad stuff.  
A toast to our new friends.

Mondo reaches forward and lifts his drink.

MONDO  
To beginning friendships, and the death of the Utroms.

Everyone raises their glasses.

CASEY JONES  
I can't believe you made pizza here.  
MONDO  
Yeah, it took me awhile to find the right ingredients to match the taste.  
But I finally got it.  
The green sauce is actually made from the mutagen.

Everyone stops and looks up, wide eyed; Mondo smirks.

MONDO  
Nah, I'm just kidding.  
You should see your faces.  
DASK  
Did you save us any?

Everyone looks over and sees Dask, Kala, and Zak walk in the room; Mondo smiles and points at Dask.

MONDO  
Hey, you owe me money D.  
Told you they'd come through the portal.

Dask rolls his eyes, sitting at the table.

DASK  
Only took two hundred years.

Mondo shrugs, smiling.

Raphael stands and pulls a hovering chair out for Kala; she smiles and nods her head, sitting next to him.

Raphael smiles and returns to his seat; taking a piece of pizza, he raises it to take a bite.

Pausing, he looks across the table; Donatello and April are smirking at him.

Raphael looks sternly at them and bites into his pizza.

MONDO  
So what's on the agenda today?

Dask bites a piece of his pizza and thinks.

DASK  
I'm still trying to figure out the recent attacks.  
There's a connection somewhere.  
I'll be in my office most of the day talking with other outposts.  
LEONARDO  
What's the problem?  
DASK  
We've had a string of attacks lately, confined to one area.  
I'm trying to figure out why.  
LEONARDO  
Mine if I join you?

Dask nods.

DASK  
Sure, I could use a fresh pair of eyes to look over the data.  
DONATELLO  
Do you think this Lord Krin is planning something?

Mondo looks up at Donatello, then turns to Dask.

MONDO  
You didn't tell them about Krin?  
KALA  
We gave them a short history.  
We haven't caught them up to recent events yet.  
RAPHAEL  
What is it?

Mondo looks to Dask, who nods with approval.

MONDO  
We killed Krin, almost fifty years ago now.  
Caught him in a surprise crossfire when he was traveling.  
APRIL O'NEIL  
That's good right?  
Why are you still fighting?  
ZAK  
We thought the war would end that day.

Mondo nods his head, remembering back.

LEONARDO  
But it didn't.

Dask sighs, leaning back in chair.

He presses commands into his wrist device and an image of a giant headless robotic body spins in the center of the table.

Everyone stares at the brain shaped creature, sitting inside the small chamber inside the chest.

The pinkish grey creature has two long tentacles sticking out; arms.

His solid black eyes seem to stare at everyone.

CASEY JONES  
What the hell is that?  
DONATELLO  
A Utrom?

Dask slowly nods.

DASK  
Not just any Utrom, that's Krin�s son.  
Lord Krang.

Mondo stands and places two fingers to Krang�s face.

MONDO  
We're going to assassinate him.  
INT. boston HOTEL ROOM - NIGHT  
A phone vibrates on the nightstand and Chris Farmer slowly opens his eyes.

The small Boston hotel room is dark, lit by only the muted infomercial.

Chris sits up and reaches for his phone.

CHRIS FARMER  
(tired / into phone)  
Farmer.  
VOICE  
(over phone)  
Sir, we've seen an increase in power consumption, lines up with the satellite power cores.

Chris sits up in his bed.

CHRIS FARMER  
(into phone)  
Where at?  
Here in Boston?  
VOICE  
(over phone)  
New York, sir.  
There's a car waiting for you outside.

Chris hangs up the phone and stands, thinking.

Yawning and scratching his head, he begins looking for his clothes to get dressed.

DIMENSION X - DAY  
INT. ABANDONED CASTLE  
COMMAND ROOM  
Leonardo is leaning on a table as Dask brings up a hologram of the planet; reaching forward, Dask spins the hologram slowly.

LEONARDO  
So this Krang.  
He's been the real threat?  
DASK  
Yes.  
Krin was attacking us for our king's refusal, but he was merely trying to teach us a lesson; bring us to our knees if you will.  
LEONARDO  
And when you killed him, Krang took over.

Dask nods slowly.

DASK  
And he is set on killing every last Neutrino.

Leonardo shakes his head.

LEONARDO  
How do you do it?  
Lead these people, knowing the odds are stacked so much against you.

Dask looks up at Leonardo.

DASK  
A true leader leads by example.  
I fight because we are not lost yet.  
I will continue to fight, as long as I am able.  
LEONARDO  
Our father tasked me to lead.  
I've been trying my hardest, but we seem to always get caught off guard, or get hurt.  
Sometimes I don't know why he chose me.  
DASK  
One morning I woke to find the Neutrinos looking to me for guidance; they were lost.  
That day I vowed to save my people.  
Leaders aren't assigned, they rise to the top.  
Clearly, your father sees something in you, even if you haven't yet.

Leonardo looks to Dask and nods.

Dask spins the hologram and pulls at it, enlarging an area.

DASK  
Here is the area the Utroms have been focused on.

Leonardo steps forward, examining the map; seven red circles indicate Neutrino posts that have been destroyed.

DASK  
We haven't been able to recon the area, they have tripled the patrols.  
LEONARDO  
What's this area here?

Leonardo points to a circular area.

DASK  
Nothing special, a large valley.  
There is an entrance to the Sunken Caverns though.  
LEONARDO  
What are those?  
DASK  
The deepest cave system on our planet; you could get lost down there.  
It stretches far beneath the surface in all directions.  
When I was very young, we would take trips to explore the ancient fire tower.  
LEONARDO  
Fire tower?  
DASK  
Mondo calls them, how you say, vall cain oh.

Leonardo nods, understanding.

DASK  
The old fire tower sits under the surface; it is massive.  
Steam rises from the ground, it's quite enjoyable.  
LEONARDO  
Dangerous?

Dask shakes his head.

DASK  
No, it has been dormant my entire life.  
Scientists predict it may never become active.  
LEONARDO  
What if the Utrom do something to it?

Dask looks up, confused.

DASK  
What do you mean?

Leonardo steps to the hologram and begins spinning it.

LEONARDO  
Look where they took out your outposts.  
They kinda form a line.

Leonardo places his finger and glides it from a river, through a cut between mountains, into the valley.

LEONARDO  
Looks like they don't want you seeing something.  
Where's this river flow from?  
DASK  
It bends upward and turns here, along the mountains behind this outpost.  
The Utroms main fortress sits there.  
The river passes right outside their walls.  
LEONARDO  
So if they did want to take something there, they could use the river, and follow this line straight to the caves.

Dask studies the map.

DASK  
What would they be taking there?  
WEAPONS ROOM  
Kala looks inside the weapons room and sees Raphael at the other end, bending to the floor.

Slipping in quietly, she walks up to him.

Raphael grabs his small metal cups and stands; turning, he sees Kala.

RAPHAEL  
Hey.  
KALA  
What are you doing Raphael?

Raphael looks to the cups in his hands and shrugs.

RAPHAEL  
Practicing.  
WEAPONS ROOM - LATER - day  
A metal cup sits on a table, suddenly, a throwing star strikes it; sending it to the floor.

Raphael and Kala stand on the opposite end of the room.

KALA  
Amazing.  
Your accuracy is incredible.  
RAPHAEL  
Here, you try.

Raphael holds out a throwing star; Kala smiles and reaches for it.

RAPHAEL  
Okay, so, just aim, and uh, throw it.

Kala laughs.

KALA  
So simple.

Raphael smiles.

RAPHAEL  
Yeah I guess.  
It takes a lot of practice to get a feel for it; how it reacts.

Kala turns and looks at the cup on the table; reaching back, she whips the throwing star and misses.

RAPHAEL  
Not bad, not bad.  
Less arm flailing and more wrist action.  
Here.

Raphael gives her another star and stands close behind her.

Reaching around her body, he grips her arm and pulls it back to her side.

RAPHAEL  
Don't whip your arm out all the way.  
Flick the wrist quickly and release.

Raphael slides his hand to her wrist and slowly bends it back and forth; showing the motion.

As Raphael's head sits above her shoulder, she turns her face toward him.

KALA  
I see.

Raphael, suddenly aware of the closeness, releases her wrist and steps back.

RAPHAEL  
So, uh, yeah try that.

Kala smiles and turns for the cup.

Stepping forward, she mimics the motion and releases the throwing star; the cup shifts slightly, the star only grazing the top.

RAPHAEL  
Boom.  
Still counts.

Kala turns to him smiling.

KALA  
How fun.

They both turn when they hear someone entering the room.

Donatello enters the room, whistling as he walks.

He walks past them and leans down inside a locker; picking up a cloth rag, he stands and walks back to the door.

As he passes, still whistling, he makes eye contact with Raphael and winks.

As he reaches the door, he turns and walks backwards, chuckling as he closes the door.

Raphael shakes his head.

MEETING ROOM  
Donatello smiles as he wipes his metal hand with the rag.

Looking up, he sees April, Casey, Michelangelo, Zak, and Mondo still talking at the table.

MICHELANGELO  
So what makes you think killing this Krang dude will stop the war?  
It didn't help you with Krin?  
MONDO  
We've intercepted some Utrom messages over the years.  
Apparently, Krins daughter, Krail, is sick of the war and wants to leave.  
ZAK  
So putting her in charge has the better chances.

Mondo nods.

MONDO  
Krail was both born here.  
So essentially, this is her home.  
She wants the war to end so she can travel to the Utroms home planet.  
CASEY JONES  
Can't she just leave?  
ZAK  
Krang instructed that no spaceships leave until the Neutrinos are dead.  
She's stuck here, bored of her brother's war.  
Krang won't leave until his father is avenged.  
APRIL O'NEIL  
Seems a little overkill to want to erase an entire species for revenge.  
ZAK  
Krang is overkill in every way imaginable.  
DONATELLO  
But if you can get Krail in charge, she might stop the war and pull out.  
MONDO  
That's the idea.  
Once she's in place, we're going to attempt to contact her and negotiate.  
We're hoping she's willing to hear us out.

A Neutrino guard walks into the room and approaches the table.

Reaching into his armor, he pulls a small device out and hands it to Mondo.

Mondo reads the screen and sighs; standing, he nods to the Neutrino guard.

APRIL O'NEIL  
Everything okay?  
MONDO  
One of our Neutrino outposts has failed to check in.  
I need to travel there and investigate.  
MICHELANGELO  
Can I come?

Mondo shrugs at Michelangelo, then looks to the group.

MONDO  
Sure.  
I can always use the help.

Michelangelo turns and looks at Donatello.

DONATELLO  
Don't look at me, I don't care.  
Go ahead.  
MONDO  
Rad.

Michelangelo jumps from the table and walks out of the room with Mondo.

GARAGE BAY  
Michelangelo follows Mondo down a hallway and enters a large room with hovering vehicles parked.

Along the wall, three transport vehicles sit; identical to the one he rode in.

Walking ahead, Mondo approaches an idling blue car; missing only the wheels, it resembles a 1957 Cadillac Eldorado convertible.

MICHELANGELO  
Slick ride.

Mondo smiles, handing Michelangelo a cloak and mask.

MONDO  
These things are wicked.  
Speed, firepower, and the color changes to blend into environments.

Michelangelo nods as he pulls the cloak over his head.

Two cloaked Neutrinos jump into the backseat as Mondo climbs in the driver�s seat; flicking switches.

Michelangelo jumps next to Mondo as he hears the thrusters roar to life; the vehicle hovers from the ground and begins to turn toward an opening at the other end of the long room.

Blue vines and vegetation grow down; covering the entrance.

Mondo pushes the throttle forward and the vehicle blasts toward the opening; ripping through the vines, they zoom through a dense forest.

INT. NEUTRINO VEHICLE - MOVING - DAY  
FOREST  
Michelangelo stares at the blue foliage zooming past as Mondo yells over the wind and thrusters.

MONDO  
It's about an hour drive to the outpost.  
We'll move in on foot once we get closer.  
Hopefully it's something simple like an antenna out.

Michelangelo smiles as they blast through the woods; letting his hand wave in the wind.

MONDO  
Ready for some real speed?

Michelangelo looks at Mondo.

MICHELANGELO  
It goes faster?

Mondo laughs; reaching down, he presses a small button on the throttles handle.

The rear thrusters BOOM.

Michelangelo slams back, sinking into his seats cushion.

Fighting to turn his head, he tries to focus on the blurred forest, rushing past.

MICHELANGELO  
Cowabung... ahhhhhh!

The vehicle exits the woods at top speed and plunges off a cliff into the air, soaring high above a deep rocky valley.

Michelangelo watches as the paint darkens and turns red, matching the sky above.

INT. SHREDDERS BUILDING � DAWN  
PORTAL ROOM  
Bebop and Rocksteady sit in chairs, watching Baxter Fly hover around; inspecting different computers and monitors.

BEBOP  
Dude, Shredder is gonna be pissed when he wakes up and realizes this portal ain't open.

Baxter Fly looks up from a computer.

BAXTER FLY  
You cannot rush this.  
I'm already pulling more power than I'd like to.  
We might as well be waving a giant flag on the roof for the military.  
ROCKSTEADY  
Hey man, we get it.  
Just sayin'.

Baxter Fly watches as Rocksteady drives the RR-87 robot around in small circles, using the small remote.

Pressing a button, Rocksteady waits for the small curved hatch to open and a drill head lifts from the opening; it begins to spin up.

BEBOP  
Where are we anyways?  
BAXTER FLY  
Forty-two percent charged.  
It will be ready around noon.

Suddenly, a Foot Bot standing in the corner begins to crackle from electricity.

Baxter Fly turns and sees Rocksteady has shot the cable from the RR-87's chest and stabbed into the Foot Bot; sending a current of electricity to zap the robot.

ROCKSTEADY  
This thing is wicked.  
BAXTER FLY  
Do be careful, it's the only one so far.

Baxter Fly turns and looks at the monitor; the number flicks to read forty-three percent.

DIMENSION X - DAY  
INT. ABANDONED CASTLE  
BALCONY  
Donatello and April O'Neil sit in a hovering swing on the covered balcony off the meeting room; they stare at the massive mountain pointed toward the sky.

APRIL O'NEIL  
It's really beautiful, isn't it?

Donatello watches as birdlike creatures fly down the mountain face.

DONATELLO  
Yeah it is.  
Zak says he wishes we could have seen it before the war.  
Must have been amazing.

April leans into Donatello and he lifts his arm around her, holding her close.

APRIL O'NEIL  
At the portal, when you were really sick.  
Did you mean what you said?

Donatello turns and looks at her.

DONATELLO  
To be honest; I was so delusional, I don't remember much.

Aprils shoulders slump slightly.

APRIL O'NEIL  
Yeah, you were really bad.

April lowers her head to look at the floor.

Donatello reaches forward and raises her chin; turning her face towards his.

DONATELLO  
I'm just kidding.  
I remember everything.

Aprils eyebrows raise.

DONATELLO  
Of course I meant it.  
You're my best friend April.  
I've loved you for as long as I can remember.

Aprils eyes begin to fill with tears as she leans down and rest her head on his shoulder; they sit, staring at the mountain.

APRIL O'NEIL  
So, how are we getting home anyway?  
My vans probably in some repo lot.

Donatello chuckles.

DONATELLO  
Only way I see it, we have to use Shredders portal.  
APRIL O'NEIL  
How fun.

Donatello turns and kisses the top of her head.

CASEY JONES  
Hey, dome head.

Casey walks up from behind and rubs Donatello's head; April and Donatello look up as Casey walks out onto the balcony.

DONATELLO  
What's up, elf lips.

Casey smiles as he points inside.

CASEY JONES  
Kala asked for everyone in the weapons room.  
The Neutrinos made us new weapons.  
DONATELLO  
Really?  
Sweet, we'll be right in.  
CASEY JONES  
Roger that, fungoid.

Casey walks back inside the door.

DONATELLO  
Gak face!

Donatello turns to April who is shaking her head at him.

DONATELLO  
He started it.

WEAPONS ROOM  
Donatello and April walk into the weapons room as Leonardo is swinging two swords; they gleam white from Likfon.

Casey also is sporting a new mask made from the metal.

LEONARDO  
I've never used two at once, it'll take some getting used to.  
Man these are light.

Kala nods and holds up a scabbard with two crossed holsters; made from Neutrino armor.

KALA  
This will hold both swords.  
We tried to match the style of your current one.

Leonardo takes the scabbard and nods.

LEONARDO  
Thank you so much.

Kala nods and sees April and Donatello have entered.

KALA  
Ah, Donatello, here.

Kala grabs a short rod from the table and hands it to him.

Donatello studies the rod and finds a small button in the center.

Pressing it, the rod quickly extends from both ends; becoming a bo staff.

Donatello giggles with excitement as he retracts and extends the staff again.

DONATELLO  
This is amazing.  
KALA  
The Likfon is much stronger to.  
May I see your wooden bo staff?

Donatello reaches back and hands her his staff.

KALA  
Tell me, is this of importance to you?

Donatello shrugs.

DONATELLO  
Not really, it's fairly new.  
I broke my old...

Kala snaps the wooden staff over her leg; she looks to Donatello, shaking her head at the weak wood.

KALA  
You try.

Donatello grip his new metal staff and tries to bend it. Although slimmer than his wooden one, the material holds strong.

He retracts the ends and nods.

CASEY JONES  
I don't know, this mask seems a lot thinner.  
I can't even feel it.  
Think it'll take a hit?  
KALA  
Let's find out.

Kala pulls a black golf bag from a locker; inside sit more items.

KALA  
Along with your mask Casey, we have replicated your other items.  
Although we are not familiar with them, we believe you will be happy.

Kala slides the bag to Casey.

KALA  
The bag is also Neutrino armor; black on black.  
Inside you will find a hockey stick, a base... er, ball bat, a golf stick, and a creekit bat.  
I do not understand this creekit.  
Raphael laughs.

RAPHAEL  
Nobody understands cricket.

Kala slides the white bat from the bag and throws it to Donatello.

KALA  
Donatello, could you please strike Casey in the face with this weapon.

Casey looks around, smiling.

CASEY JONES  
Wait wha...

The bat cracks his face, throwing his head back.

Looking forward, he slides the mask up and smiles.

CASEY JONES  
I didn't feel a thing.

Laughing, Kala turns to Raphael.

KALA  
And for you.

Kala holds up new Likfon sais; the points, ultra-sharp.

She lays them on the table and steps forward; pushing her chest against his, her face inches from his.

Smiling, she slowly reaches behind Raphael with both hands and grabs the handles of his old sais; pulling them from his belt.

DONATELLO  
Awe look, I think he's blushing.  
RAPHAEL  
I am not.

Kala smiles and steps back.

She looks down and sees a broken piece of Donatello's wooden staff and holds one sai above it; point down.

Releasing it, the sai drops and strikes the wood, falling to the floor beside the staff.

KALA  
Now you.

Raphael repeats the process with his new sai; as it falls, it pierces the staff and sticks into the floor.

RAPHAEL  
Damn.

Raphael pulls the sai from the ground and twirls them; placing them back in his belt.

Turning, Kala looks to April.

KALA  
And finally, April O'Neil... what exactly do you do April?

April shrugs, smiling.

EXT. FOREST - DAY  
Michelangelo watches as Mondo lowers the hovering car through the trees; the paint again shifting to blue.

Hovering above the ground, Mondo flips a switch and the power goes off; the vehicle drops slowly onto the blue leaves.

MONDO  
Mask up, we go on foot from here.

Mondo jumps from the vehicle, throwing his purple hat on the seat, and walks to the trunk.

Popping it open, he begins to grab gear.

Michelangelo walks the rear and Mondo throws a Likfon gauntlet at him; Michelangelo catches it.

MONDO  
Try it on, inside, you'll feel a button along the metal handle.

Michelangelo inserts his hand and grabs onto the handle, his fingers rest over a button built into the handle.

Michelangelo nods to Mondo.

MONDO  
Go punch that boulder behind you. As you strike, squeeze the button.

Michelangelo turns and sees the rock through his goggles.

Walking up, he pulls back and punches at it; pressing the button as he lands the strike.

The gauntlet pulses and the boulder shatters, shooting debris across the ground.

MICHELANGELO  
Gnarly.  
MONDO  
I know right?  
Now if any rocks are shooting at you, do that to them.

Mondo slides on his own gauntlet and nods, they head into the woods silently.

EXT. ABANDONED CASTLE - DAY  
rear COURTYARD  
Dask steps from the door into the courtyard behind the castle and looks to the sky.

After scanning, he motions for the rest to follow.

Leonardo, Raphael, and Kala step out of the door and follow Dask through an overgrown garden; the stone path barely visible.

Looking up, Leonardo watches as they walk toward the towering mountain face.

At the base, a small destroyed building sits; built into the mountain.

INT. MOUNTAIN BASE SHACK  
Dask opens the door and ushers the group in. Inside, Zak is dressed in a cloak.

ZAK  
Just you two?

RAPHAEL  
Yeah, Mikey's with Mondo.  
Donnie, April, and Casey are in the lab watching Likfon being made or something.

Kala walks over and gives Leonardo and Raphael their own cloaks.

KALA  
The mountains are dusty and cold.  
These are for you.

The group quickly throw their cloaks on as Zak slides a decrepit shelf over; revealing a dark tunnel.

ZAK  
We've spent years digging this.

Zak throws a large bag over his shoulder and crouches; entering the tunnel.

Everyone follows, walking up the sharp incline.

INT. CAVE - LATER - day  
The group enters a dark cave and rests on some rocks.

RAPHAEL  
That's quite the workout crouched the whole way.

Leonardo nods, rubbing his thighs through the heavy cloak.

Kala appears beside Raphael

KALA  
Would you like me to massage your legs?

Raphael's eyes go wide.

RAPHAEL  
What?

Kala laughs and walks forward, reaching into her cloak and pulling out a small weapon.

Aiming above them, she shoots five silent shots toward different areas on the ceiling; the ammo glows blue as it shoots through the air and sticks to the surface.

Slowly, the blue patches begin to glow brighter, and brighter; filling the cave with light.

Leonardo views a steep wall come into view across a ravine in the cave; small puddles of mutagen bubble all around.

A slim metal beam crosses the ravine; roughly fifty foot in length.

Slowly approaching the ravine, Leonardo looks down at the dark drop.

LEONARDO  
How deep is this?  
ZAK  
You would need to take a breath between your screams.

Leonardo raises his brow.

LEONARDO  
Copy that.  
Don't fall.

The Neutrinos all walk across the beam easily, having done it many times.

Once across, they all turn and smile at Raphael and Leonardo.

Raphael notices Kala is looking directly at him.

Sighing, he steps up to the beam and walks across; smiling and holding his arms out; he shrugs at the Neutrinos when he steps off the beam.

They all nod, impressed, and turn to Leonardo.

Raphael walks behind them and leans on a wall, finally breathing when no one is watching; he squeezes his trembling hand into a fist.

Leonardo steps on the beam and walks across; glancing at the bottomless hole below; he quickly jumps the last fifteen feet and walks away from the edge.

LEONARDO  
Well, that was terrifying.

The Neutrinos laugh and turn for the steep wall; they approach it and grab hold of thick vines.

DASK  
Here we go.  
To the ledge above.

Leonardo and Raphael both look up to the high ledge barely visible; they look at each other grimly.

LEONARDO  
Water tower.

Raphael smiles, thinking back to simpler days.

Together, they follow the Neutrinos.

EXT. TREELINE - DAY  
Mondo signals the group to halt and they take cover behind trees.

A large blue field stretches beyond the tree line; tall blue grass sways in the wind; scanning the field, they see a small structure sitting between gigantic boulders.

Smoke pours from the windows.

MICHELANGELO  
(over coms)  
Movement.

Mondo presses his earpiece closer.

MONDO  
Where?  
MICHELANGELO  
(over coms)  
Two meters right of the biggest boulder, in the grass.

Mondo scans the field, unable to see anything.

MONDO  
I don't have eyes on.  
MICHELANGELO  
(over coms)  
Something laying the grass.  
Hard to see what.

Mondo turns and looks around, unable to find Michelangelo.

MONDO  
Where are you Mikey?  
MICHELANGELO  
(over coms)  
Above you.

Mondo looks up and sees Michelangelo hidden in the braches of the thick tree; scouting the field from above.

Turning, Mondo steps into the field.

MONDO  
I'll move in first.  
Hold here.

The two cloaked Neutrinos pull up their weapons and cover Mondo.

Crouched low, Mondo's skin begins to take on the pattern and color of the blue grass; even his dark black hair fades to blue.

Michelangelo watches as Mondo blurs from vision, moving slowly through the grass; almost completely invisible.

MICHELANGELO  
(over coms)  
Dude, you're like The Predator.  
MONDO  
I have no idea what that is.  
But it sounds cool.

Walking forward, Mondo approaches a Neutrino in the grass.

A leg is missing from the knee down; a tourniquet is pulled tight around his thigh.

Placing his fingers to the neck, Mondo checks for a pulse.

The Neutrinos eyes open faintly.

NEUTRINO  
Rock Soldier unit sir, five men; all killed.  
Hit us hours ago.  
MONDO  
Shhh, save your strength.  
We're getting you home.

Mondo reaches to his hip and pulls out a small tool.

Turning, he aims at the tree line; a silent HISS lets out as a thin strand of cord fires toward the trees and sinks into the thick bark.

Mondo reaches down and clasps the tool to a metal D-ring on the back of the Neutrinos armor; he presses the trigger again and the Neutrino begins to winch toward the trees.

When the injured man reaches the tree line, the two cloaked Neutrinos grab, unclasp, and pull him into the trees; administering field medics.

Michelangelo watches as Mondo sweeps the area and enters the building, a moment passes and he steps back out; his camouflage fades away.

MONDO  
Clear.

Michelangelo jumps from the tree and walks to Mondo, who is crouched looking at the ground.

MONDO  
Rock Soldier.

Michelangelo sees a large smoking pile of dark red rubble; a green square shaped helmet lays next to it.

MONDO  
More inside.  
INT. OUTPOST BUILDING - day  
Michelangelo steps over the two dead Neutrinos carefully, looking around at the destroyed smoking equipment.

Three more big piles of dead Rock Soldiers lay around in different areas, green square helmets litter the floor.

Mondo reaches into his pack and pulls out small black discs.

He squeezes each one and places them around the building; a small red light blinks from them.

MONDO  
We need to destroy all of this, so the Utroms don't recover anything.  
We were lucky.  
MICHELANGELO  
Maybe not.

Mondo places a disc and looks up.

MONDO  
What is it?

Michelangelo points to the Rock Soldier piles.

MICHELANGELO  
Three green helmets in here, one outside.  
The injured Neutrino said they were hit by five.  
EXT. FIELD - day  
Mondo and Michelangelo walk outside and begin scanning the area.

Behind a boulder, Michelangelo finds a section in the grass that is bare; the grass ripped from the dirt.

Small fragments of Rock Soldier lay around the small clearing.

MONDO  
Pulse mine got one.  
They step on it and it blasts them to pieces.  
MICHELANGELO  
Not that many pieces here.

Mondo looks around.

Turning, he sees the field has been walked through from the opposite tree line across the field; the tall grass slightly bent and stomped down.

MONDO  
This way.  
EXT. MOUNTAIN PATH � Day  
Raphael stops for a moment and looks up the steep path; the group battle the dusty winds high on the mountain as they climb the zig zagging path toward the approaching peak.

Shaking his head, he continues onward.

Reaching the top, they finally come to level ground; blue trees and foliage rise to the sky.

A small cave sits hidden in a stone wall.

LEONARDO  
More caves?

Dask shakes his head.

DASK  
We are here.  
INT. LOOKOUT CAVE - day  
Raphael pulls off his mask as the group enters the thin, long cave.

SPAT, 20, a Neutrino guard, sits on a stool looking out a tiny carved window on the far end.  
He turns to face them from the setting sunlight shining in the window.

KALA  
Still nothing?

The Neutrino shrugs as he jumps from his stool; walking toward them.

SPAT  
They continue to set up.  
Looks almost finished.

Spat walks to Kala and takes the large bag.

Lowering it to the floor, he opens it and begins looking over the food; excited for a new meal.

Leonardo and Raphael approach the small window, their eyes open wide.

Far below the mountains other side, a giant fortress sits; patrols walk along towering walls surrounding the massive clearing.

In the center, a skyscraper sized round structure is built; its metal walls all curve high in the sky.

LEONARDO  
Whoa.  
DASK  
That is the Technodrome, Krangs main facility.  
It once roamed across our planet, wreaking havoc on everything.  
RAPHAEL  
That thing can move?  
DASK  
Yes.  
But it has been stationary here for many years.  
The fortress was built around it.

Leonardo and Raphael stare at the Utrom fortress.

All around the Technodrome, thousands of ground troops walk around doing various activities; some do combat training, vehicles drive around, soldiers enter and exit the many smaller buildings surrounding the Technodrome, soldiers fire at shooting ranges.

Leonardo turns from the window.

LEONARDO  
You're going in there?

Zak laughs.

ZAK  
No, we would be annihilated.

Dask turns from the window and approaches the small desk; atop, pictures and layouts of the fortress sit.

DASK  
Tonight marks the fiftieth anniversary of Krins death.  
On the twenty fifth anniversary, Krang stopped all operations to hold a ceremony for his father.  
KALA  
They all gathered below and celebrated that monster.  
ZAK  
We celebrated up here, for different reasons of course.  
LEONARDO  
So what's the plan?

Dask nods to Kala and she pulls a small device from her back.

Pressing a hidden button, a stock and barrel extend from the device; turning into a long rifle.

A scope raises from a flap on top; Kala hands the weapon to Leonardo as it charges with a slight HUM.

KALA  
It's not loaded.

Leonardo takes the weapon and turns for the window.

KALA  
On the far left side of the fortress.

Leonardo lowers his eye to the scope and begins scanning the fortress in better detail.

Utroms, in smaller robotic bodies than Krangs, walk around holding weapons; they chat with one another.

Rock Soldiers patrol the grounds, looking around for things to do.

Leonardo pans slowly and sees a large river flowing outside the northern wall.

LEONARDO  
Is that the river headed to the destroyed outposts?  
DASK  
Yes.

Nodding, Leonardo pans the scope left and sees a massive stage built above steps; a red carpet stretches from the stage, between long rows of stone bleachers, and ends at a giant stone sculpture of a Utrom.

KALA  
That is Krins burial tomb.

Leonardo lowers the weapon and turns from the window; Raphael takes the weapon and begins scanning the fortress.

DASK  
The stage was only built once before, on the twenty fifth anniversary.  
All signs point to Krang holding another ceremony for the fiftieth.  
ZAK  
He's begun pulling his forces to the fortress as well.  
That's why there are so many down there; he wants a big crowd.

Raphael turns from the window holding the weapon.

DASK  
During the last ceremony, Krang and Krail each took turns paying their respects to their father.  
They walked down the stage, removed their armor, and approached the burial tomb.  
ZAK  
That is when we will strike Krang, when he is without his armor at the tomb.  
He will be out of his robots shield.  
LEONARDO  
You can make that shot?

Kala smiles.

KALA  
I've been practicing for many years.  
RAPHAEL  
And you still expect Krail to be negotiable; even after you spray her brother all over daddy's grave?  
DASK  
That is our hope.

Raphael nods, pressing the hidden button on the weapon; it folds back up into its small form.

He hands it to Kala.

RAPHAEL  
Works for me.

Kala looks at the weapon surprised; she smiles at Raphael.

KALA  
You're observant.

Raphael smiles and turns for the window.

DASK  
When the ceremony begins, I will travel to the Sunken Caverns; to see what Krang has been doing there.  
My hope is that most of the guards will be at the ceremony.

Leonardo nods.

LEONARDO  
Might be your only chance to find out.  
EXT. FOREST - Day  
Mondo and Michelangelo take cover behind trees, looking into the woods.

Ahead, a large Utrom ground transport vehicle sits on the ground.

A Rock Soldier sits on the ground, leaning against the vehicle.

Mondo raises his weapon and walks forward with Michelangelo; they approach the figure.

The Rock Soldier sits motionless, both legs destroyed and missing from the knees down.

MONDO  
Number five hit the pulse mine.

Michelangelo nods as the Rock Soldiers eyes faintly open from the sound; it turns its head toward them, breathing heavy.

ROCK SOLDIER  
Ah, the Neutrino lizard.  
Come out of hiding?

Mondo smiles and approaches the Rock Soldier; stowing his weapon and raising his gauntlet.

Michelangelo stares at the Rock Soldiers green eyes looking up at Mondo; its small pointed nose pointing up at Mondo.

Something similar about the features.

Without hesitation, Mondo presses the gauntlet to the Rock Soldiers temple and pulls the trigger; shattering him to the ground in a sudden blast.

MICHELANGELO  
Dude, was that a Neutrino once?  
MONDO  
Yes.  
Krang mutates captured Neutrinos into them, adding to his armies.  
MICHELANGELO  
Why do they fight for him?  
MONDO  
We don't know.  
We assume he does something to affect their memory.

Mondo pulls weapons from the vehicle and hands them to Michelangelo; turning he throws in a few blinking discs.

MONDO  
Let�s go.  
EXT. FIELD � LATER - DUSK  
Michelangelo and Mondo watch the last deceased Neutrino get loaded into the transport vehicle and it lifts from the ground.

Turning, they inspect the building and large boulders one more time; heading for the car.

Michelangelo jumps in as Mondo brings the vehicle to a hover, slowly climbing into the sky, the two Neutrino guards rest in the backseat.

As Mondo pulls away, he activates a device and Michelangelo watches as the small building explodes in a sudden BOOM.

Across the field through the forest, a second explosion detonates from the Rock Soldiers transport vehicle.

Turning toward home, Mondo throws the throttle forward.

INT. NEUTRINO VEHICLE - MOVING - dusk  
sky  
Mondo steers the vehicle low, gliding above the blue trees.

Michelangelo looks out to the vast land; cratered from years of war.

A large building is collapsed to the ground, still burning.

MICHELANGELO  
Pretty heavy here man.

Mondo nods as he watches ahead.

MONDO  
Just another day.  
Everything is riding on Krang being killed.  
It could change everyth...

A Neutrino guard in the backseat leans forward pointing.

NEUTRINO GUARD  
Utrom drone!

Mondo looks to the sky and sees the small metal object soaring through the air; turning hard, he pushes the throttle and gives chase.

MICHELANGELO  
What do we do?  
MONDO  
I got him, I got him.  
I just need to get behind and lock on.  
Mikey, press the red toggle.

Michelangelo looks at the dash and quickly flips the switch; the front grill of the car lowers and three barrels slide out.

The Utrom drone, suddenly aware of them, starts to change course and zigzag away from them.

Mondo presses the triggers on the steering wheel, sending rapid laser fire toward the drone from the two outside barrels; the drone weaves around the incoming fire.

Michelangelo bounces in his seat as Mondo struggles to follow the fast moving object.

Finally, soaring over a large lake, the dashboard lights up with a 'locked on' message.

Mondo squeezes a button on the back of the steering wheel and a slim missile fires from the center barrel.

All watch as the missile gains on the drone and impacts it; detonating in a large explosion over the water.

Turning, Michelangelo watches as the metal drone drops and splashes into the lake.

MICHELANGELO  
Roasted it!

Mondo smiles at him and turns toward home.

INT. ABANDONED CASTLE - NIGHT  
MEETING ROOM  
Raphael and Casey Jones are sitting at the table relaxing; Casey slowly wraps the handles of his new weapons with a black type.

RAPHAEL  
How is that stuff?  
CASEY JONES  
Not bad actually.  
Has a really nice grip.

Casey tears the tape and throws the roll to Raphael.

Raphael inspects the tape and picks up one of his sais; starting to wrap the handle.

Donatello and April walk in the room and sit with them.

RAPHAEL  
How were the labs?

Donatello nods.

DONATELLO  
Really cool.  
It's crazy the amount of things they can do with the mutagen.

April lays back in her chair and closes her eyes as Leonardo walks in from the command room.

LEONARDO  
Hey Donnie, you up for a trip?

Donatello looks confused.

LEONARDO  
Dask is going to search these caverns when the ceremony starts; the Utroms might be planning something there.  
I told him you'd might be better suited to join.  
DONATELLO  
Why me?

Leonardo shrugs.

LEONARDO  
Because you are the smartest; you see things before all of us.  
Might be able to help him.

Donatello turns and looks at April; Raphael laughs.

RAPHAEL  
Can Donnie come out and play April?

April smiles and stands, walking behind Donatello.

Leaning over, she hugs and kisses Donatello on the cheek; standing, she walks toward the sleeping quarters.

APRIL O'NEIL  
Bring him home in one piece this time.

Everyone stares at Donatello, surprised by the open display of affection.

Donatello smiles and shrugs.

MICHELANGELO  
Yo!

They all turn and see Michelangelo walking up swinging new Likfon nunchuks.

MICHELANGELO  
Hey, I think that Kala chick has a thing for me.  
Check these sweet new chuks she made me.

Michelangelo begins swinging the new weapons.

MICHELANGELO  
Damn this charming personality.  
It's a curse honestly.

Raphael rolls his eyes and begins taping his sai again.

SLEEPING QUARTERS � LATER - NIGHT  
Leonardo sleeps in his bed when a voice calls out to him.

Opening his eyes; he sees Zak kneeling beside him.

LEONARDO  
Zak?  
What is it?

Zak stands a lays a cloak across his legs.

ZAK  
The ceremony has begun.  
We strike Krang tonight.

Standing, Zak walks over and begins waking Raphael.

INT. LOOKOUT CAVE - LATER - NIGHT  
Raphael looks over the fortress; large pylons rage, lining the red carpet to the burial tomb.

The stone bleachers are filled with thousands of Utroms and Rock Soldiers; cheering.

On the stage, Raphael can see two larger Utroms standing next to each other.

Turning, Raphael looks to Kala.

RAPHAEL  
Ready?

Kala looks up from her weapon and nods; forcing a smile.

Raphael lays his hand on her shoulder and gives it a squeeze.

Zak and Leonardo watch the scene unfold at the fortress.

EXT. FORTRESS - NIGHT  
STAGE  
LORD KRANG, Utrom leader, stands on the stage, looking over the massive crowds, nodding with approval; his robotic body stands twelve feet tall.  
KRANG  
Father would approve.  
KRAIL, Krangs sister, stands near him, staring at the night's sky; her body only eight foot tall.  
KRAIL  
Father would not have wasted so much effort on theatrics.

Krang ignores the cold retort and stares at the burial tomb far down the carpet.

Looking over,  
GENERAL TRAAG, Rock Soldier Commander, walks up the stages steps.  
Larger than most Rock Soldiers, General Traag walks with superiority, hosting his many metals on his stone chest; a large cigar bounces in his mouth.

KRANG  
General Traag, welcome.

Krang extends his robots arm toward Traag; Traag walks forward and shakes the huge hand.

TRAAG  
The pleasure is all mine Lord Krang.  
Lady Krail.

Traag dips his head to Krail; she turns from the sky and looks him over.

KRAIL  
Traag.  
KRANG  
A beautiful ceremony Traag.  
Deserving of our father.

Krang looks over the crowds again.

TRAAG  
I am pleased to hear you approve, my Lord.  
KRANG  
And what of the Neutrinos?  
How are our operations going?

Traag nods, motioning for Krang to follow; turning, they walk from Krails ears.

TRAAG  
Everything is coming to fruition, we have the Neuts on the run.  
We destroy hidden outposts daily.

Krang turns to make sure Krail is not listening.

KRANG  
And the cave?  
TRAAG  
Nearly complete.  
We've had zero interference from the Neutrinos.  
We will begin final preparations after the ceremony.

Krang nods.

KRANG  
Excellent; a brilliant idea Traag.  
We will at last rid ourselves of these Neutrino scum.  
TRAAG  
We've installed the device you requested today; it will only activate using the DNA of your bloodline.  
Nobody else can initiate it.  
KRANG  
Good. I want to be the one who eviscerates the Neutrinos.

Krail turns and stares at Krang and Traag.

KRAIL  
Perhaps we can get this over with so you two can whisper war tactics without my presence.  
It bores me.

Traag looks over and forces a smile.

TRAAG  
Just informing Lord Krang of our ongoing efforts, Lady Krail.  
KRAIL  
Perhaps we can finally rid ourselves of this beautiful planet you have both destroyed and visit our home world.  
Unless of course, you need an additional fifty years to finish up General?

Traag smiles weakly.

TRAAG  
We hope to get you there as soon as possible Lady Krail.

Krail stares coldly.

KRAIL  
Good, now perhaps we can start this charade.  
Father hates to wait.  
TRAAG  
Of course my Lady.

Traag turns and signals to the crowd; drums begin to beat and the crowd quiets, all turning toward the stage.

A Rock Soldier walks up the steps and hands Krang and Krail a single white flower; turning, he leaves the stage quickly.

A somber beat plays over the drums as Krail walks to the edge of the stage and stares down to the burial tomb at the end of the carpet; slowly, she begins to walk down.

INT. SUNKEN CAVERNS - NIGHT  
Dask pulls his long blade from the dead Rock Soldier.

His wrist device lights up and he reads the message; turning, he looks to Donatello.

DASK  
We need to move quickly.  
The ceremony has begun.

Donatello nods and they both travel deeper into the cave.

EXT. FORTRESS - NIGHT  
burial tomb  
Krail reaches the end of the red carpet and looks at the tomb.

Deactivating her shields, she slithers down the robot�s body; holding her flower with a tentacle.

Sliding across the stone up to the tomb, she smiles faintly.

Kissing the flower, she places it on the stone edge; leaning forward, she kisses the tomb.

KRAIL  
Peace be with you father.

After a moment, she slithers back to her suit and climbs inside.

Turning, she walks slowly back to the stage; Krang stares as she approaches.

INT. LOOKOUT CAVE - NIGHT  
The group watch as the ceremony continues.

ZAK  
Krang is up.

Kala takes a few breaths and stands, holding her weapon.

She walks forward and carefully steadies the rifle on the rocky edge; slowly, she lowers her eye to the scope.

EXT. FORTRESS - NIGHT  
STAGE  
Krail stands beside her bother and turns to face the burial tomb.

Krang takes a step forward and walks his massive robot down the stairs.

Slowly walking down the carpet, Krang looks up to the thousand faces staring at him; Utrom and Rock Soldier.

He nods to the silent crowd, waving to each side.

burial tomb  
Reaching the carpets edge, his shields fade and he slides from the robot.

Wearing only his combat sling and small weapons; his body begins to slither on the stone when he suddenly stops.

In front of the tomb, pink and purple flashes light up the tomb; a bright light suddenly gleams in front.

Krang raises his tentacle to shield his black eyes from the unexpected light.

Lowering his arm, Krang stares into an oval shaped, purple star field; he watches as three figures step through the portal.

INT. LOOKOUT CAVE - NIGHT  
Kala scans her scope around, unable to see Krang behind the crowds of soldiers.

KALA  
What the hell is that?  
ZAK  
A portal, Do you have a shot!?

Kala frantically looks around.

KALA  
No! Krang needed to be at the tomb.  
He's still on the walkway blocked by the crowds.  
LEONARDO  
That's Shredder.  
EXT. FORTRESS - NIGHT  
burial tomb  
Shredder walks forward with Bebop and Rocksteady; dressed in his armor.

Looking down, he stares at the strange creature in front of him.

BEBOP  
Uh boss, we got a situation.

Shredder looks up at the massive crowd staring at him; they are all pulling weapons and aiming at him.

ROCKSTEADY  
Found your guns.

As the crowds begin firing down on them, Shredder leaps forward and grabs Krang; holding the flailing creature tight.

The gunfire slows, but continues.

Retreating, they run back through the portal.

A Rock Soldier jumps from the stands and runs forward, shooting his small weapon.

INT. SHREDDERS DOWNTOWN BUILDING - DAY  
PORTAL ROOM  
Baxter Fly is monitoring the portal when all three run back through; Shredder holding a small pink creature.

ROCKSTEADY  
Shut it down!

Baxter Fly hovers to the laser and switches the power button.

The portal sparks and fades away; a large CLUNK falls to the floor, a Rock Soldiers forearm holding a small weapon lays in front of the portal.

The small creature fights with Shredder, screaming.

KRANG  
Release me!

Reaching to his combat sling, Krang pulls a small weapon and tries to aim it at Shredders face.

Seeing the white metal, Shredder slams Krang onto a table twice, sending the weapon flying.

Turning, Krang pulls a small blade and slithers back up Shredders arms, swinging the blade wildly.

The blade cuts into Shredders mask once before Rocksteady punches Krang hard, sending him sailing over the table.

Just as fast, Krang climbs to the table aiming his lost weapon; jumping toward Rocksteady.

Rocksteady dodges the first blast and takes the second in his shoulder before catching Krang and holding the weapon away.

ROCKSTEADY  
Little guys got some spunk!

Slamming the Krang down on the floor, Rocksteady tries to hold creature still.

Bebop runs forward, placing his foot on the small weapon; Krang rages at them, pinned to the floor.

The weapon fires another blast in a random direction.

Bebop raises his large knife and swings it down, cutting off the tentacle holding the weapon.

Krang screams in agony.

DIMENSION X - NIGHT  
INT. LOOKOUT CAVE  
Kala raises her head from the scope.

KALA  
He's gone.  
RAPHAEL  
Who, Shredder?  
KALA  
Krang... and Shredder.  
He grabbed Krang and ran back through the portal before it closed.  
They are gone.

They all watch the chaos unfold below.

ZAK  
We need to get back to base.  
The situation just became very complicated.

They all turn and begin picking up their gear.

EXT. FORTRESS - NIGHT  
stage  
Krail stands on the stage watching soldiers run around everywhere; looking for the portal that vanished.

Alarms wail throughout the entire fortress.

Unmoving, she glances to her right and sees General Traag staring at her from a group of Rock Soldiers.

A smile creeps faintly on her face.

INT. SUNKEN CAVERNS - NIGHT  
Dask raises his weapon and fires three quick shots; the blue lights fire to the ceiling and begin lighting the cave.

DONATELLO  
Holy hell.

In front of them, a giant steel contraption is built into the floor. A large top drive is slowly turning, drilling another rod into the ground.

DASK  
What is this thing?  
DONATELLO  
Looks like a giant drill.  
Look, its pushing that beam into the ground.

A Utrom walks around the huge machine; looking up to the blue light.

Dask pulls his weapon and aims; the first and second shot disable its shield, the last pops the creature inside its chamber.

The smaller robotic body slumps slightly.

DASK  
What would this drilling do?  
DONATELLO  
What's beneath us?  
DASK  
The ancient fire tower.

Donatello turns to the machine and spots a door built into it.

DONATELLO  
Let's find out.

Donatello and Dask run toward the machine, jumping to a ledge.

They follow the railing to a small building; built into the machine.

INT. DRILL COMMAND ROOM - NIGHT  
Inside, they find screens and controls; Dask quickly begins typing on the screen.

DONATELLO  
You can read that?  
DASK  
Of course, I've learned their style of writing over the years.  
It's actually quite similar to...

Dask steps back from the screen slowly.

DONATELLO  
What is it.

Dask continues walking back, eyes wide open; he bumps into the wall.

DONATELLO  
Are you okay?

Dask looks up to Donatello, barely registering him.

DASK  
They are attempting to activate the ancient fire tower.  
DONATELLO  
How?  
DASK  
The drill is lowering massive amounts of Utrom explosives.  
Enough to destroy a small moon.  
DONATELLO  
What happens if the fire tower becomes active?

Dask stares at Donatello for a moment.

DASK  
It would put enough ash into the air to prevent any sunlight from entering the planet.  
No Neutrino would survive.  
DONATELLO  
What's the move?

Dask raises his arm to the incoming message; he reads it twice, shaking his head slightly.

DASK  
We need to leave.  
Let me copy these files quickly.  
INT. ABANDONED CASTLE - LATER - NIGHT  
MEETING ROOM  
Mondo leans back on his chair, rubbing his fingers through his hair, he puts his purple hat back on.

MONDO  
So. What are we thinking?

He looks around to everyone sitting at the table.

ZAK  
Maybe Krang is gone for good and we can move forward.  
DASK  
We can't assume that.  
We only have one shot with Krail.  
We can't have Krang come back into the picture, it needs to be certain.  
LEONARDO  
I agree.  
If you play your hand and Krang comes back, it'll be for nothing.

Mondo rubs his eyes.

MONDO  
And we'd be right back to square one.  
KALA  
What about the fire tower?  
DONATELLO  
Me and Dask have read through the files.  
From what we could tell, the device can only be activated using the DNA of Krangs bloodline.  
DASK  
It was built that way on purpose.  
So Krang could be the executioner.  
RAPHAEL  
So if you solve the Krang problem, that one would solve itself.  
DASK  
Theoretically.  
If Krang is gone, I'd doubt Krail would activate it.  
MICHELANGELO  
So, we focus on Krang.  
DONATELLO  
That's what I think.  
Stop Krang, and the fire tower becomes less an issue.  
DASK  
For now.  
LEONARDO  
How likely are Krang and Shredder to join forces?  
KALA  
Very.  
But Krang wont 'join forces', Krang is a master of manipulation.  
He will use this Shredder to his benefit and when he's done with him; Shredder will be discarded.  
CASEY JONES  
When they do join, Shredder will come back through that portal with a powerful new ally.

Raphael is sitting back, picking his teeth with his sai.

RAPHAEL  
Tell you what I'd do; as soon as that portal opens up again, I'd throw some of those disc bombs in and pull the trigger.

Everyone turns to Raphael, he looks up.

RAPHAEL  
What?  
MONDO  
That's not a bad idea.  
APRIL O'NEIL  
Uh, that's our way home.

Donatello thinks it over.

DONATELLO  
Yeah, but the general idea is good.  
If we could get through the portal first, we could close it from the other side.  
LEONARDO  
Trapping Krang in our world and give you guys a chance here.

Mondo and the Neutrinos think it over.

DONATELLO  
Can someone bring up the footage when Shredder came through the portal?

Kala types into her wrist device and the view from her weapon scope plays in the center of the table.

DONATELLO  
Okay, time stamp from the moment the portal appears, to when Shredder first steps through.

Kala types and the video cuts, displaying a time in the corner.

KALA  
Forty-three seconds from the first spark to Shredder stepping through.  
LEONARDO  
That's a tight window Donnie.

Donatello nods, sitting back.

MONDO  
And besides, you guys would need to be inside that fortress when and if the portal opens.  
Sorry to say, but we can't offer that kind of support.  
DASK  
We don't have enough men.  
It would be a deathtrap.

Everyone sits back thinking.

RAPHAEL  
Could we infiltrate it?

Mondo shakes his head.

MONDO  
We couldn't find any points of entry along the wall.  
We lost so many people scouting it, we finally abandoned the idea.

Kala leans forward.

KALA  
And even if you could, then what?  
You'd have to find a place to stay hidden, close enough to the portal.  
Then wait for who knows how long for it to open.  
APRIL O'NEIL  
Could be days, or weeks even.  
KALA  
Exactly.  
It isn't plausible.  
CASEY JONES  
We'd have to wait somewhere safe.  
Then when the portal opens; get inside the fortress and through the portal.  
DONATELLO  
In forty-three seconds.  
RAPHAEL  
Ain't no way.

Michelangelo leans forward, clearing his throat.

MICHELANGELO  
Uh, I might have an idea.

Everyone turns to him.

INT. SHREDDERS DOWNTOWN BUILDING - DAY  
SHREDDERS OFFICE  
Shredder walks forward, looking into the small steel cage.

Krang sits toward the back, holding a bloody rag to his severed tentacle; his black eyes are locked on Shredder.

SHREDDER  
We meant you no harm creature, but you attacked us.  
You pulled a weapon.

Krangs croaks.

KRANG  
You kidnapped me!

Krang points his unharmed tentacle at Shredder.

KRANG  
You stepped upon my father's tomb, kidnapped me, and now; I am your prisoner with a crippled arm.  
Funny way of showing no harm.

Shredder holds up Krangs tiny weapon.

SHREDDER  
I've been searching for this tech for many years.  
We built this portal to travel inside and finds the makers.  
Is that you?

Krang looks to the weapon.

KRANG  
I am Lord Krang.  
Supreme leader of the Utroms.  
I'm not just the maker of that tech; I am the force that disintegrates planets with it.

Shredder nods slowly.

SHREDDER  
Good.  
Looks like I've found the right person.

Shredder reaches forward and unlocks the cage; turning, he walks to his desk and sits down in the chair.

Krang watches suspiciously for a moment and slowly slides forward to the cage door; pushing it open.

SHREDDER  
I truly mean you no harm Lord Krang.  
In fact, I will return you immediately to your people as soon as the portal is up and running.

Krang stares at him from the cage opening.

SHREDDER  
You fired your weapon and damaged our laser during our scuffle.  
My technician says he will have it up and running soon.  
Please.

Shredder waves his hand, offering a chair to Krang.

Krang eyes the seat and climbs from the cage; he slithers over and climbs into the chair.

SHREDDER  
I apologize for your... hand.

KRANG  
It'll grow back soon enough.

Krang looks around the room, he sees the armor Shredder has taken off sitting on a table.

KRANG  
Who are you?

Shredder leans back.

SHREDDER  
My name is Oroku Saki.  
We are not that different.  
I am looking to conquer this planet and I've been interested in your weaponry.  
We have no such technology here.  
KRANG  
And where is, here?  
SHREDDER  
We are on Earth, in the Milky Way galaxy.  
KRANG  
I've never heard of such a place.  
SHREDDER  
The portal is the only thing that made this possible.  
We could be millions of galaxies apart for all we know.

Krang turns and looks out the window to the city.

KRANG  
How many creatures reside on this planet?

Shredder thinks for a moment.

SHREDDER  
Roughly eight billion.

Krang turns to Shredder shocked.

KRANG  
Eight billion!  
And this planet survives?  
Don't your people have space travel?

SHREDDER  
Nothing compared to yours.  
We only send out small vessels to explore nearby planets.  
We've only landed on two so far and our moon.  
KRANG  
So you have eight billion people on a planet with no space travel.

Shredder nods.

Krang rubs his tentacle on his chin.

KRANG  
Interesting.  
DIMENSION X - NIGHT  
INT. ABANDONED CASTLE  
GARAGE BAY  
Everyone stands behind Michelangelo as he stands with his arms crossed; they stare at the red Neutrino vehicle.

MICHELANGELO  
So in theory, we just wait for that portal to open and boogie on through in this baby.

Michelangelo turns to look at the group.

Donatello walks to the vehicle and slides his hand across the hood; he looks up and shrugs.

DONATELLO  
Could work.  
LEONARDO  
Are these fast enough to make the forty-three seconds?

Dask nods.

DASK  
Should be, as long as we get it close enough.  
KALA  
We could have it up at the lookout.  
When the portal opens, you could fly straight down.  
CASEY JONES  
Does the fortress have any antiaircraft support?  
ZAK  
Yes.  
But, if you flew down wicked fast, you might make it before they even realize.  
APRIL O'NEIL  
Might.  
Awesome.

Zak smiles and shrugs as Donatello crouches down and knocks on the side panel.

DONATELLO  
And if they do get a shot off, how's the armor on these?

Mondo yells from across the bay.

MONDO  
I have a solution for that.

They all turn and see him standing by another car, covered by a thin sheet.

He reaches down and slides the sheet off; the gleaming black Neutrino car shines under the lights.

The front quarter of the vehicle has a bright purple paintjob that blends back into the black with rock shaped patterns.

DASK  
Your Hell Cruiser?  
KALA  
You love that vehicle.

Mondo shrugs, looking at the beautiful vehicle.

MONDO  
I can make another one.  
It's the best one for them.  
Improved armor on all sides, upgraded firepower, and let's face it; it's the fastest in the fleet.

Dask laughs.

DASK  
That's still up for debate.

Zak smiles; ribbing Dask.

ZAK  
It did beat your Rock Crusher.  
DASK  
False start.

Mondo laughs as he jumps in the front seat.

MONDO  
They haven't even seen the best part.

Mondo flip some switches and the thrusters begins to rumble.

MONDO  
Okay, so, little history; when I became trapped here, I had my Walkman with me.  
Had a few songs on a tape, but it was damaged one day.

Mondo flips another switch and the vehicle hovers from the ground; roaring.

MONDO  
The Neutrinos weren't able to fix it, but they were able to transfer one important piece of data to their tech.

Mondo smiles and turns a dial on the dash.

He flips a purple switch and looks at them as a song begins to play loudly over the speaker system.

The Neutrinos all begin shaking their heads as the turtles all look to each other; confused.

Donatello turns to April.

DONATELLO  
What is it?

April shakes her head.

APRIL O'NEIL  
It's the theme song to Happy Days.

Mondo climbs from the vehicle and yells over the music.

MONDO  
The vehicle is yours.

Leonardo nods.

LEONARDO  
Okay, let's get to work.  
INT. SHREDDERS DOWNTOWN BUILDING - DUSK  
SHREDDERS OFFICE  
Shredder is sitting at his desk, listening to Baxter Fly over the intercom.

BAXTER FLY  
(over speaker)  
It's not terrible.  
One or two more hours and we'll be back up and running.  
SHREDDER  
Thank you.  
I let you get back to work.

Shredder leans forward and disconnects the call; he looks over and sees Krang sitting on a stool, looking out the window.

SHREDDER  
Not much longer Lord Krang.

Krang nods from the stool as Shredder places Krangs combat sling on his desk.

SHREDDER  
These weapons of yours, they differ.  
This is the one you fired, but this one seems to carry mutagen?

Krang turns from the window and sees his sling; he climbs down and slithers to the desk, climbing up.

KRANG  
Yes, I carry both.

Krang grabs the sling and dons it.

KRANG  
I try to be prepared for any situation.

Once the sling in on, Krang lifts a flap on the side and shows Shredder ten mutagen vials sitting in slots.

SHREDDER  
You can get what, two or three shots per vial?

Krang scoffs.

KRANG  
This is Utrom enhanced mutagen.  
Each vial gives me easily fifty shots.

Shredders eyes widen.

SHREDDER  
Fifty!  
I had a similar sized vial that offered only three.

Krang smiles.

KRANG  
Sounds like you had organic Neutrino scum mutagen.  
I've since perfected it.  
SHREDDER  
Amazing.

Krang holsters his weapons and slides off the table; returning to his stool.

KRANG  
Tell me Saki, does this planet have many metals in the ground?  
SHREDDER  
Yes.  
We have multiple metals in abundance.  
Why?

Krang smiles to himself, then turns to Shredder.

KRANG  
If you have a certain two, I can make this metal for you.

Krang pulls his weapon and points to the white metal.

KRANG  
Very strong stuff.

Shredder nods.

SHREDDER  
That would be most appreciated Lord Krang.  
I'll give you a detailed list of our planets metals.

Shredder leans down and opens his drawer; he pulls the Rock Soldiers arm out, along with the small weapon.

SHREDDER  
This is the same metal?

Krang turns and sees the weapon and Rock Soldier arm.

KRANG  
Yes, it is called Likfon.  
The firepower inside is created by electronic lasers fired through gems found inside fire towers.  
SHREDDER  
Fire towers?

Krang sighs and turns to the window; lifting his tentacle, he draws an image in the condensation.

Shredder studies the image and turns to his computer.

Typing, he spins the screen to face Krang.

Krang looks at the picture and nods; Shredder turns the screen back and smiles at the volcano.

SHREDDER  
Volcano gems.  
You must speak of geodes.

Shredder holds the Rock Soldier arm up.

SHREDDER  
And this?  
One of those rock creatures?

Krang glances at the arm.

KRANG  
Yes, one of my Rock Soldiers; the main infantry of my army.

Krang turns to the window.

KRANG  
Along time ago, my father discovered a weak rock-like species called the Kwagills on a distant planet.  
They were closer to animals than an educated life form.

Krang turns to Shredder, thinking back.

KRANG  
I suggested taking the materials needed and decimating the planet, but my father was wiser.  
He was able to create an army of Rock Soldiers using eligible fighters mutated with the DNA of the Kwagills.  
SHREDDER  
I remember your army through the portal.  
You must have thousands.

Krang smiles.

KRANG  
I still have some original Kwagills in my fortress; The Technodrome.  
We used them to make Rock Soldiers from the Neutrinos.  
SHREDDER  
The Neutrinos.  
These are the people that killed your father?

Krang nods.

SHREDDER  
How do you get them to fight for you?  
KRANG  
We wipe their memory in the Technodrome.  
It's very refreshing to hear a former Neutrino killed one of his own.

Shredder nods, sitting back in his chair.

SHREDDER  
Have you ever mutated a Utrom with these Kwagills?

Krang looks up quickly; silent for a moment.

KRANG  
Only once.  
My father tried it on one of our own.  
It ended... badly.  
SHREDDER  
I see.  
KRANG  
We rarely use the Kwagills anymore.  
We discovered we could make more Rock Soldiers just by mutating creatures with existing Rock Soldier DNA.

Shredder looks up, lifting the arm.

SHREDDER  
So you could make Rock Soldiers just from this sample?

Krang smiles and nods, turning back to window.

KRANG  
Indeed, I could.

Shredder looks over the arm and sets it down on his desk.

KRANG  
(to himself)  
I could make eight billion Rock Soldiers.

Looking up, Krang watches the image of the volcano begin to drip down the window.

DIMENSION X - DAWN  
EXT. ABANDONED CASTLE  
rear COURTYARD  
Raphael stares up at the large mountain toward the lookout cave.

RAPHAEL  
So why haven't we been using these vehicles to fly up there from the start?

Zak smiles as he packs his bag.

ZAK  
Utrom recon drones.  
We never needed to risk it before.  
We needed to maintain this bases secrecy for the assassination.

Raphael nods as Kala approaches him.

KALA  
I have something for you Raphael.

Kala reveals a box from behind her back.

Raphael takes the box and opens it; inside a green glove fitted for him and one throwing star sit in decorative paper.

RAPHAEL  
Wow.  
Thank you.

Kala smiles, seeing him happy with the gift.

KALA  
I gathered that you lose a lot of your throwing stars in battles.  
Going around and retrieving them seems doubtful.

Raphael laughs.

RAPHAEL  
Yeah. I'm always making more in Donnie's workshop.  
KALA  
Excellent.  
Please try this.

Kala pulls the glove out and has Raphael put it on; the finger-less Neutrino armored glove fits perfect.

KALA  
I asked them to leave the fingers off, so not to affect your grip.

Raphael nods, wiggling his fingers some.

Kala reaches into the box and pulls out the throwing star.

KALA  
I've replicated this from your own.  
It's made from Likfon, dyed black.

Raphael takes the star and looks it over; every detail from his own is transferred over.

KALA  
Please.

Kala motions to the cup sitting far away, on a table near the castles rear door.

Raphael nods and lines up this throw, flicking the throwing sta;, he shatters the cup.

The throwing star sinks into the castles hard stone wall.

RAPHAEL  
Wow. Sharp.  
KALA  
Yes, very.  
Now, could you please hold your glove up; the back of your hand facing the star, and make a tight fist.

Raphael raises his hand and squeezes his fist; the throwing star begins to vibrate and pulls from the stone, it quickly shoots back toward Raphael.

Looking down, Raphael finds the throwing star magnetized to the back of his glove; sitting in a small star shaped indent.

RAPHAEL  
What?

Kala laughs.

KALA  
Now you will never lose a throwing star, you will always be able to call it back.  
Within a certain distance of course.

Raphael runs his fingers over the star; grabbing it again, he throws it hard to the sky.

Squeezing his hand, it returns to him and attaches to his glove.

Looking up, Raphael walks toward Kala and pulls her in tight for a hug; he feels her arms wrap around him.

Raphael turns his head and whispers into her ear.

RAPHAEL  
Thank you Kala.  
KALA  
You are welcome, Raphael.

They stand there, embraced, as Leonardo walks up to Dask with a bag over his shoulder.

LEONARDO  
We have a weeks' worth of food in here.  
DASK  
If we require more, I will send for someone.

Leonardo nods, turning and seeing Raphael and Kala hugging.

LEONARDO  
Can't believe we might be leaving.  
Started to feel like home, even for this short time.

Dask smiles.

DASK  
If all goes as planned, perhaps all of you could visit when we aren't being hunted by a deranged war lord.  
LEONARDO  
What's the plan with the ancient fire tower?

Dask shakes his head.

DASK  
Let's see how this goes.

Zak walks up, already in his cloak.

ZAK  
Mondo took Mikey and Donnie out in the Hell Cruiser for a bit.  
They wanted to get some practice in.

Leonardo nods.

LEONARDO  
They'll meet us on top?

Zak nods as Casey and April walk from the mountain base shack wearing cloaks; they carry more for everyone.

APRIL O'NEIL  
We ready?

They all nod and begin putting on their cloaks as April stares up at the tall mountain.

APRIL O'NEIL  
Is this going to be hard?

Raphael and Leonardo look at each other.

RAPHAEL  
Are you afraid of heights?  
INT. HELL CRUISER - MOVING  
VALLEY  
Michelangelo swings the car around and hits the brakes; Donatello click his stop watch.

DONATELLO  
Fifty-eight seconds.

Michelangelo slams his hand on the steering wheel.

MICHELANGELO  
Damn it; okay, let's go again.

Mondo checks his wrist device.

MONDO  
No can do Amigo.  
The others are headed up, we can't risk missing the portal.  
It could be any moment.

Michelangelo nods and begins turning the Hell Cruiser around.

Throwing the throttle forward, they burst in the direction of the mountain.

INT. LOOKOUT CAVE - LATER - DAY  
Dask and Zak shatter the lookout window with their pulse gauntlets and make the opening large enough for the vehicle.

Standing back, they nod and slide the gauntlets off as Michelangelo slowly backs the Hell Cruiser through the opening and parks it on the floor.

Jumping out, they all group up; April runs up and hugs Donatello.

APRIL o'NEIL  
(slurred words)  
Hey baby, I missed you so much.  
Where did you go?  
I was looking for you everywhere.

Donatello stares down at her confused; he looks around at everyone trying to hide their smiles.

DONATELLO  
What's happening?  
RAPHAEL  
She was scared to death of the climb up.  
Kala gave her a small pill to help.

Donatello looks down at April.

APRIL O'NEIL  
I climbed vines.

Donatello fakes a smile as April leans up and whispers in his ear.

APRIL O'NEIL  
(whispering)  
Let's sneak out into the woods.

She tries to wink at him, but closes both eyes.

Donatello looks up.

DONATELLO  
Uh, Kala?  
KALA  
It will pass soon.

Donatello nods looking down to April and smiling.

April smiles at him; pulling him close by his shell.

Everyone laughs as they join at the small desk.

LEONARDO  
Here's what I think, Mikey and Donnie in the front; that way Donnie can help navigate.  
Me and Raph will take the backseat.  
Casey and April, sorry, you get the trunk.

Leonardo looks to everyone; April gives him a sloppy salute.

Donatello reaches down and holds her arms, grinning.

KALA  
We have lined the trunk with as many cloaks we could spare; to help pad it for you two.  
CASEY JONES  
Thanks.  
April would thank you to, ya know, if she wasn't... fucked up.  
APRIL O'NEIL  
I feel great.  
MICHELANGELO  
If we do get through, what's the move inside?  
DONATELLO  
We need to shut the portal down first.  
It will most likely be set up identical to the one in Boston, so Mikey, once through; smash right into that laser.  
MICHELANGELO  
Say no more.  
LEONARDO  
After that, we need to secure Shredders Saturn Glass.  
No doubt, we'll be in a fight once were in; so keep your guard up and keep a lookout for the rocks.  
RAPHAEL  
Shredder, Krang, those two mutants from the portal, Baxter, Foot Soldiers, Foot robots, those little chompers; it might be one hell of a fight.  
CASEY JONES  
Hell yeah.  
DONATELLO  
I need to stay in the trunk Casey.  
CASEY JONES  
Awe, what?  
DONATELLO  
April will be in there; I'd rather the trunk stay closed.

Casey nods as April turns and puts her hands on Donatello's face.

APRIL O'NEIL  
Awe baby, you always lookout for me.  
I can't beli...  
DONATELLO  
Okay.

Donatello lowers her hands and holds her in a hug.

LEONARDO  
Whoever secures the Saturn Glass, yell 'vanish', that will be our cue to get out of there.  
CASEY JONES  
What about us in the trunk?  
MICHELANGELO  
Oh, I'm taking the Shell Cruiser.  
MONDO  
Hell Cruiser.

Michelangelo smiles and shrugs.

MICHELANGELO  
Maybe in this galaxy.  
LEONARDO  
Any questions?  
RAPHAEL  
Yeah.

Raphael turns to Dask.

RAPHAEL  
You got any of those disc bombs thingy's handy?  
EXT. NEW YORK BUILDING TOP - NIGHT  
Chris Farmer looks through his binoculars, scanning the buildings; looking down, he double checks the map.

CHRIS FARMER  
(to himself)  
Around here somewhere.

Turning, he begins to scan different buildings; panning the binoculars slowly over a building, he stops, lowers his binoculars, and brings them up again.

Rocksteady slowly walks past a window, chatting away to someone in the room.

Chris continues to watch the window until he sees Rocksteady return and crack a beer; throwing the cap out of the window.

Chris lowers the binoculars.

CHRIS FARMER  
Found you, you son of a bitch.

Slowly, Chris walks from the buildings edge, toward the ladder.

DIMENSION X - DAY  
INT. LOOKOUT CAVE  
Michelangelo sits near Mondo and Casey, resting in a chair.

MICHELANGELO  
Sure you don't want to come home?

Mondo looks up and smiles.

MONDO  
Nah man, I am home.  
Maybe I'll visit one day, if this ever ends.  
I could never abandon the Neutrinos now.  
MICHELANGELO  
I feel ya bro.  
Just wanted to make sure you knew you had a seat through that portal if you wanted it.

Mondo reaches up and pats Michelangelo on the back.

MONDO  
I know, it's my car.

They laugh and sit back.

Mondo reaches into his belt and pulls out a worn folded paper; he rotates it in his hand, staring at the address.

MONDO  
Hey Mikey, could you do me a favor?

Michelangelo reaches for the letter and puts in his belt.

MICHELANGELO  
Don't even have to ask man.  
I'll get it there.

Mondo nods and sits back; an iPod lands in his lap.

MICHELANGELO  
For you.  
There's about a thousand or so songs on that thing.  
MONDO  
A thousand?  
CASEY JONES  
Probably no Happy Days though.

Mondo stares at the small device.

Raphael sits next to Kala, throwing his star and retrieving it.

Looking over he smiles at her; he looks up to her hair.

RAPHAEL  
Is your hair hard?  
KALA  
See for yourself.

Raphael reaches up and glides his fingers through her silky hair.

As his fingers pass through, the hair returns to its original shape.

RAPHAEL  
Wow.  
It just pops right back up huh?  
It's so soft.

Raphael combs through her hair again, then again; Kala closes her eyes and leans into his hand.

Slowly, Raphael lowers his arm around her; pulling her close, she rests her head on his shoulder.

RAPHAEL  
So what will you do if this works out and Krail leaves?

Kala keeps her eyes closed, resting on him.

KALA  
I do not know.  
Perhaps I will travel.  
I hear there is a beautiful blue planet in the Milky Way.

Raphael smiles, pulling her tight.

RAPHAEL  
Yeah. I'd like that.  
KALA  
As would I.

Dask, Zak, and Leonardo stare down at the fortress; waiting for any sign of the portal.

LEONARDO  
We should probably do shifts.  
This could be a while.  
ZAK  
I could have someone bring you up a bed to get stuck in.

Leonardo laughs.

LEONARDO  
Hey, I figured it out.  
DASK  
We've come a long way since we disarmed you at the portal.

Leonardo nods.

LEONARDO  
Quite the journey.  
It's been an honor learning and working with you guys.  
I hope everything works out for your people.

They shake hands and continue to watch the fortress.

Donatello sits in a chair with April on his lap.

APRIL O'NEIL  
I'm so embarrassed.  
DONATELLO  
It wasn't that bad.  
You were... cute.  
APRIL O'NEIL  
Ugh. Cute.  
DONATELLO  
I didn't know you were afraid of heights.  
APRIL O'NEIL  
Neither did I.  
You should go down to that cave.  
DONATELLO  
Wanna... sneak down there?

Donatello winks with both eyes.

APRIL O'NEIL  
I hate you.

Donatello laughs.

DONATELLO  
Hey, earlier I couldn't pull you off of me.  
APRIL O'NEIL  
I was under the influence.  
Doesn't count.

Donatello smiles and wraps his arms around her.

DONATELLO  
I still thi...  
DASK  
Spark! Move it!

Everyone jumps from their seats and scrambles to their positions.

Michelangelo jumps in the seat and flicks the switches up; the Hell Cruiser roars to life and lifts from the floor.

Raphael jumps over the trunk, shutting it over Casey and April and lands in his seat.

Kala runs over and kisses his cheek.

KALA  
Goodbye Raphael.  
RAPHAEL  
Goodbye Kala.  
I will see you again.

Raphael kisses her hand as the vehicle lurches forward; Kala nods, watching the vehicle hover out of the cave.

INT. HELL CRUISER - MOVING - DAY  
Mountain  
Donatello looks over to Michelangelo.

MICHELANGELO  
My chest is pounding!  
DONATELLO  
Punch it.

Michelangelo flicks the purple switch and  
Happy Days begins blaring out of the speakers.  
Slamming the throttle forward, Michelangelo pushes the boost button; the rear thrusters ROAR.

The vehicle soars over the mountain; everyone sinks back into their seats.

RAPHAEL  
Holy shit!

Donatello watches the fortress, more sparks pop by the burial tomb.

DONATELLO  
Dead ahead Mikey.  
MICHELANGELO  
I see it, I see it!  
INT. LOOKOUT CAVE - DAY  
Kala watches through her scope as the vehicle plunges down the mountain, almost to the fortress.

KALA  
Go, go, go.  
INT. HELL CRUISER - MOVING - DAY  
fortress  
The Hell Cruiser rocks to its side, lining up with the portal; a sudden BOOM lets out and the vehicle shakes to one side.

RAPHAEL  
They are shooting at us!  
MICHELANGELO  
Aware Raph!

Another blast explodes in front of the vehicle, Michelangelo swerves to miss the debris.

Straight ahead, a large cannon rotates toward them, lining up a shot.

MICHELANGELO  
You guys have your seat-belts on?

Donatello looks at everyone.

DONATELLO  
Yeah, wh...

The vehicle launches to its side, rolling completely over; flying upside-down.

The cannon fires and the shell passes right below them.

The Rock Soldier looks up to the passing vehicle; Michelangelo is smiling and giving it the middle finger.

Rolling the vehicle back over, Michelangelo straightens it out.

DONATELLO  
Bossanova!

Leonardo comes forward, pointing at the portal.

LEONARDO  
Are we going to fit?  
MICHELANGELO  
Only one way to find out!

Michelangelo presses the boost button again and the thrusters engage again; everyone fly's back into their seats.

Shooting down the carpeted walkway, gun fire begins to rain down from both side; too slow to hit the fast vehicle.

Utroms and Rock Soldiers yell from the stone stands.

The turtles scream as the vehicle points directly at the portal; Michelangelo the only one smiling.

INT. SHREDDERS DOWNTOWN BUILDING - NIGHT  
PORTAL ROOM  
Shredder stands with Krang by the portal as it swirls; Baxter Fly nods from his computer and Shredder turns.

SHREDDER  
Lord Krang, we can now return to...

Shredder stops; he turns his head, listening.

Bebop and Rocksteady look to each other, then to Shredder.

BEBOP  
Is that... Happy Days?

The Hell Cruiser rockets through the portal, veering hard to the left. The rear of the vehicle swings around and smashes the laser to the wall; pinning Baxter Fly.

The portal fades.

The impact bends the truck lid, popping it up slightly from the latch; the radio fizzles quiet.

Michelangelo shakes his head and leans back in his seat; coughing.

He raises his hands and crosses them.

MICHELANGELO  
((quoting )Top Gun)  
I was... inverted.  
KRANG  
Neutrinos!

Shredder watches as the dust settles and stares at the vehicle; his eyes go dark.

SHREDDER  
No.  
Turtles!

Leonardo and Raphael spring from the vehicle, immediately sparring with Shredder.

His weapon clings over their new weapons; Shredder slowly backs away from them.

Michelangelo jumps from the seat as a sledgehammer swings across, slamming into the seat.

Turning, Michelangelo rolls to the floor and jumps; double kicking Rocksteady and swinging his nunchuk against his hard head.

Michelangelo turns to fight a Foot Soldier.

Donatello shatters two Foot Bots and starts scanning for the Saturn Glass; below the crushed laser, he spots a piece and slides to the floor; scooping it up.

Baxter Fly's arm lashes out at his face, unable to reach from his pinned position.

Standing, Donatello dodges a large knife flying at him; Bebop charges at him and raises his arms.

Suddenly, a baseball bat smacks him across the face.

CASEY JONES  
Goongala!

Casey Jones jumps off the truck and swings his bats at Bebop; making the mutant back away from the hard strikes.

Donatello turns and sees the broken trunk lid; Aprils eyes peer through the small slit.

He motions for her to stay and turns as a Foot Soldier swings a sword down; reaching up, Donatello stops the blade with his metal hand.

The Foot Soldier looks at the hand, then to Donatello.

DONATELLO  
Yeah.

He snaps the blade in half and stabs the Foot Soldier in the chest.

MICHELANGELO  
Dude!

Donatello turns and smiles at Michelangelo; Michelangelo is strangling a Foot Bot, he rips the head off.

MICHELANGELO  
I,Robot!

Donatello smiles and begins looking for the Saturn Glass.

Raphael kicks off the wall and brings his sai down, sinking it into Shredders bicep; Shredder twirls and backhands Raphael away, two Foot Soldiers begin to fight with Raphael.

Shredder reaches down and pulls the white metal sai from his arm.

Leonardo comes forward with both swords; Shredder easily blocks the strikes with the new sai.

Spinning, he slices Leonardo across the chest; Leonardo recovers quickly, side stepping and swinging from low, his weapon slices into Shredders thigh.

Backing up, Shredder pulls his sword and begins pummeling Leonardo with hard blows; Leonardo backs up slowly, blocking each strike as sparks fly.

Rocksteady appears behind Leonardo and picks him up; hurling him at the portal, Leonardo slams off the frame and falls to the floor.

Laughing, Rocksteady turns and looks down, Michelangelo is crouched in front of him; weapons behind his back.

ROCKSTEADY  
You want some of this!

Michelangelo pulls his arm out and Rocksteady looks at the weird metal armor around his hand.

Michelangelo swings the gauntlet up and squeezes the button as he strikes Rocksteady in the sternum; Rocksteady flies across the room, crashing through Baxter Fly's work station.

Shredder watches as Rocksteady slams into the desk and turns; a cricket bat uppercuts his chin, sending his head back.

CASEY JONES  
That's for my dad.

Annoyed, Shredder walks toward Casey; Raphael lands between the two and begins fighting Shredder.

Donatello scans the room and sees a metal case on the ground; he swings his bo staff and rips the head off of a Foot Bot.

Running to the case, he retracts his staff and leans down to open it; inside, four Saturn Glass rocks sit with one empty slot.

Donatello drops the rock into the fifth slot and smiles.

Suddenly, the case slams down on his metal fingers.

KRANG  
These are mine!  
This planet is doomed.  
I will rain death and burn everything you love.

Donatello notices a small notch in the floor and grabs his staff.

Placing one end in the notch, he presses the button and extends the staff; aimed at Krang.

KRANG (cont)  
You have no idea what I'm bringing to this this plan...

The staff shoots out and lifts Krang from the floor, sending him sailing into the air.

Casey turns and sees Krang flying in the air; reaching back he aims for the Utrom with his cricket bat.

Swinging underhand, he cracks Krang with the board; sending him crashing into stacked crates.

CASEY JONES  
Six points!

Michelangelo knocks out two Foot Soldiers with his nunchuks and turns.

MICHELANGELO  
What?  
CASEY JONES  
Nothing.

Jumping, Casey avoids a sword strike and jumps to Michelangelo; together, they fight, back to back.

Bebop turns and watches the battle; looking over, he sees eyes in the trunk of the vehicle.

Walking over, he reaches down and throws the trunk open.

April backs away as Bebop leans down and rest on the edge of the trunk; he peers over his glasses.

BEBOP  
Well, well, well.  
What are you doing hiding in here?  
They didn't let you come out and play?

April reaches to her side and pulls a small white rectangle from a hidden sheath; Bebop looks down and laughs.

BEBOP  
Is that your lipstick babe?

April presses a button on the side and an eight-inch blade extends out.

Swinging it down, it stabs through Bebop�'s hand and into the vehicle; pressing another button on the butt of the weapon, a pulse of electricity jolts through his body.

Bebop screams.

As he tries to reach for the weapon through the shock, Donatello jumps over the vehicle and smashes Bebop over the head with his bo staff.

Bebop staggers for a moment, and collapses; April retracts the blade and his hand slides to the floor.

APRIL O'NEIL  
(to herself)  
Thanks Kala.

Jumping from the trunk, April runs to Donatello.

Standing in front of him, Donatello hands her the case and twirls his staff as eight Foot Soldiers rush at them.

Donatello spins around April, circling around her; taking them all out in a fast circular motion.

He looks down at the bodies, then turns to April.

APRIL O'NEIL  
Hot.

Donatello smiles and grabs on to her.

DONATELLO  
Vanish!

Jumping with April, Donatello leaps to an open window; looking out, they both climb out with the Saturn Glass.

Michelangelo kicks a Foot Bot toward Casey. Casey swings his hockey stick and slices the head off.

CASEY JONES  
These weapons are awesome!

Michelangelo jumps in the Hell Cruiser and flips the switches; the vehicle hovers from the floor.

Turning it slowly, Michelangelo blast a hole in the wall. Casey jumps in the vehicle as Michelangelo throws the throttle forward; they burst out of the building.

Raphael picks up his lost sai and turns toward Shredder with Leonardo.

Shredder takes off his helmet and wipes blood from his mouth; smiling.

SHREDDER  
I see I have left my marks as well.

Leonardo and Raphael look down to their many wounds.

SHREDDER  
You think fancy new weapons will defeat me?  
I will have those soon enough, and we shall see who has the upper hand.

Baxter Fly pushes the laser away and slowly stands; looking around, he takes in the massive damage.

Looking closer, his eyes widen; looking all around.

Scanning the room, he sees Krang laying on the floor; hovering over, he grabs Krang and flies out of a window.

Bebop and Rocksteady both stand; throwing debris away.

They come up behind Leonardo and Raphael; Shredder smiles.

SHREDDER  
And what shall we do now?

Bebop and Rocksteady pull their weapons and aim at the turtles.

SHREDDER  
Your weapons.

Leonardo and Raphael hesitate for a moment and throw their weapons out of the hole Michelangelo made from the Hell Cruiser.

Putting their hands up; they turn to Shredder.

SHREDDER  
You might have foiled me this time, but I will rebuild.  
You have only delayed my...

Shredder looks closely at Raphael's hand, and begins to look around.

Raphael smiles; holding a small detonator.

Bebop and Rocksteady pick up on Shredders worry and look around; dozens of tiny discs are attached to surfaces, a tiny red light blinks from them.

Slowly, Bebop and Rocksteady begin to back away, heading for a door.

SHREDDER  
Cowards.

Bebop shrugs as they both turn and disappear through the door.

Leonardo and Raphael begin backing away from Shredder.

SHREDDER  
There will come a time turtles, when you'll wish you'd never met me.  
RAPHAEL & LEONARDO  
((unison / quoting )Speed)  
Mister, I'm already there.

Leonardo laughs and turns to Raphael.

LEONARDO  
What is that, Speed?  
RAPHAEL  
Classic Keanu Reeves.

Leonardo nods.

LEONARDO  
It's no Point Break.  
RAPHAEL  
Obviously Point Break is king.  
Swayze rules all.

Shredder stares at them, confused.

SHREDDER  
What are you talking about!

Leonardo and Raphael turn back to Shredder.

LEONARDO  
It's over Shredder.  
Yasurka Ni Nemura.

Leonardo looks to Raphael.

LEONARDO  
On you.

Raphael nods and squeezes his glove; the throwing star behind Shredder rattles from the wall.

Flying back to Raphael, the star rips through Shredders neck, spraying blood across the floor.

Shredder lurches forward, holding his neck.

Jumping through the hole; Leonardo and Raphael fall to the streets as Raphael detonates the discs and the floor above explodes from all sides.

EXT. STREET - night  
Landing, Leonardo and Raphael shield themselves from the falling debris.

When the items stop falling, they walk out and stare up at the burning building.

Leonardo looks down and bends over; standing, he holds one of Shredders gauntlets, it's charred and smoking.

Raphael smiles and nods behind; Leonardo turns and sees the sewer lid under the debris.

EXT. SMALL HOUSE - DAYS LATER - NIGHT  
MOJAVE, CALIFORNIA  
Michelangelo stands on the dark porch looking through the window.

Smiling, he sets the letter from Mondo on the door mat and rings the doorbell; quickly, he jumps from the porch.

From the shadows, Michelangelo watches as the door opens and an older man steps out; looking around, he glances down and sees the letter.

Michelangelo walks slowly back the porch when the door closes.

Peering inside, he watches as the husband and wife stand together; reading the letter.

The woman begins to cry and the husband holds her; they finish the letter and wipe tears from their eyes.

Michelangelo scans the walls and sees a picture of a young James Jordan in uniform.

Smiling, Michelangelo turns to leave.

INT. HELL CRUISER - NIGHT  
Desert  
Michelangelo jumps in the vehicle and Casey Jones looks up.

CASEY JONES  
All good?

Michelangelo nods.

Slowly, Casey hovers the car into the sky and turns for the east coast.

Looking down, Michelangelo sees the older man removing a yellow ribbon from a tree in the front yard.

Smiling, Michelangelo looks forward as Casey pushes the throttle to max.

EXT. PIER - DAWN  
NEW YORK  
Donatello and April O'Neil sits together, staring out over the water; the Statue of Liberty shines across the water.

APRIL O'NEIL  
You ready?

Donatello looks over at the metal crate.

DONATELLO  
Yes.

Standing, April picks up the case and hands it to him.

Donatello unclasps the latches and holds it up; throwing it into the water.

Together, they watch the case fill up with water and slowly sink.

As the case sinks into the water, purple residue flows from the crack.

Landing on soft sand, the last of the Saturn Glass floats away.

Donatello and April walk along the water, toward home.

APRIL O'NEIL  
That case seemed a little light tonight, huh?  
And you threw it pretty far.

Donatello smiles, walking behind her.

He reaches forward and grabs her; lifting her into the air.

She turns in his arms and he holds her up as she wraps her legs and arms around him.

DONATELLO  
I have Neutrino enhanced upgrades now.  
I'm pretty strong these days.

April smiles at him; leaning down, she places her forehead against his.

He leans up and they kiss.

INT. SEWER LAIR - LATER - day  
LEONARDO AND RAPHAEL'S ROOM  
Raphael lays in his bed, throwing a ball into the air and catching it.

Leonardo pops his head in the door.

LEONARDO  
Mikey brought pizza.

Raphael nods.

RAPHAEL  
Hey Leo.

Leonardo pops his head back in.

RAPHAEL  
Hey, you did good man.  
I'll follow you anywhere.

Leonardo smiles.

LEONARDO  
Thanks Raph.

Leonardo leaves and Raphael throws his ball one more time and catches it.

Leaning up, he sets the Saturn Glass on his pillow and walks from his room.

DONATELLOS WORKSHOP  
Donatello hammers on a piece of metal when he hears a voice.

Looking up, he sees Leonardo.

DONATELLO  
What's that?

Leonardo motions to the kitchen.

LEONARDO  
Pizza.  
DONATELLO  
Hey, real quick.  
What do you think?

Donatello takes the rounded metal and sets it in place on his new creation; Leonardo turns his head slightly.

LEONARDO  
Ah, well.  
It's a... metal... head.

Leonardo leaves for the kitchen.

Donatello stands back from the metal turtle head and smiles.

DONATELLO  
Heh.  
Metalhead.  
KITCHEN  
Splinter smiles as the turtles, April and Casey all sit at the table; he notices how they have all grown.

Lifting his glass, he clears his throat.

SPLINTER  
To my family, all of you.  
When you have completed ninety-five percent of your journey...

Everyone joins in.

EVERYONE  
...you are only halfway there.

Everyone raises their glass and digs in.

Sipping his drink, Splinter smiles.

His eyes look over to the burnt gauntlet sitting on the shelf one last time.

FADE OUT

MID CREDIT SCENE  
INT. WAREHOUSE - NIGHT  
Baxter Fly sits at his desk, looking over data.

Bebop and Rocksteady are on the couch to his right; nursing their wounds.

ROCKSTEADY  
So what do we do now?

Bebop shrugs as he stands.

Walking to the other end of the room, he slows.

BEBOP  
What's the next step boss?

Krang turns from the hostage; Chris Farmer hangs by rope with a cloth tied around his mouth.

A giant bleeding gash is cut into his face from the forehead, down to his chin.

Krang looks through Chris' wallet and looks up.

KRANG  
First and foremost, I need a body.

Chris Farmer slightly moans; Bebop walks up and punches him in the stomach.

BEBOP  
Nobody asked you, Slash.

Baxter Fly looks up from his computer.

BAXTER FLY  
We have our guy tracking the materials you requested as we speak Lord Krang.  
KRANG  
Excellent.  
EXT. FOOD SHACK - NIGHT  
FLORIDA  
Corey Williams sits on the deck, waiting for his food order.

Looking down, he turns the mutagen dispenser in his hand.

A woman lays a plate of crawfish on the table and he nods.

Looking out over the deck, he watches an alligator slowly wade through the marsh.

FADE OUT

END CREDITS SCENE  
DIMENSION X � DAY  
INT. TECHNODROME  
THRONE  
Two Rock soldiers stand at attention as General Traag walks up; throwing open the doors, he walks inside and stops.

TRAAG  
So it is true.

Krail is sitting at the end of a long table; Dask and Kala sits to her left.

TRAAG  
Your brother is gone mere hours and you turn to these pathetic beings.

Traag spits on the floor, staring coldly.

KRAIL  
That is enough Traag.  
You will not speak to me in that manner.  
TRAAG  
To hell with you Krail.  
I'll be no part of this.  
I just came to see it with my own eyes.

Traag reaches down and pulls his Commander badge from his chest; walking forward, he throws it, sliding it down to Krail.

TRAAG  
Your father must be turning in his tomb.

Turning, Traag leaves the room.

Krail reaches down and picks up the badge; she turns to her right.

KRAIL  
Lieutenant Granitor, perhaps you would like to be my new Commander?

A Rock Soldier stands at attention.

GRANITOR  
Yes, Lady Krail.  
Thank you.

Krail throws him the badge and turns back to her guests.

KRAIL  
Now, where were we?  
EXT. FORTRESS - day  
General Traag walks outside and grabs his cigar.

He puts it in his mouth and lights it; looking around.

TRAAG  
Soldier.  
Have my shuttle readied.

The Rock Soldier stands at attention.

ROCK SOLIDER  
Yes, General.  
Where should I say the destination is?

General Traag thinks for a moment and smiles.

TRAAG  
I'm going to see Lord Dregg.

The Rock Soldiers eyes widen.

ROCK SOLDIER  
Y-y-yes sir.

Turning, the Rock Soldier runs off.

General Traag turns and stares at the Technodrome one last time; blowing smoke into the air.

FADE OUT


End file.
